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Class 

Book. 

Copyright^ . 



COPYRIGHT DEPOSIT. 



Cfte TBaotes ffinglisf) Cests 

GENERAL EDITOR 

EDWIN FAIRLEY 

Head of the Department of English, 
Jamaica High School, New York City 

POE, LONGFELLOW, WHITTIER: 

The Raven, The Courtship of Miles Standish, Snow- 
bound. One volume. 

Edited by Charles Elbert Rhodes, Head 

of the Department of English, Lafayette 

High School, Buffalo, N.Y. 

STEVENSON: 

Treasure Island 

Edited by Ferdinand Q. Blanchard 

ELIOT: 

Silas Marner 

By the General Editor 

HAWTHORNE: 

The House of the Seven Gables 

Edited by Emma F. Lowd, Head of Depart- 
ment of English, Washington Irving High 
School, New York 

SHAKESPEARE: 

Julius Coesar 

Edited by Charles Addison Dawson, Ph.D., 
Head of the Department of English, Central 
High School, Syracuse, N.Y. 
Merchant of Venice 

Edited by Charles Robert Gaston, Ph.D., 
Head of the Department of English, Rich- 
mond Hill High School, New York City 
Macbeth 

Edited by Clarence W. "Vail, Manual Train- 
ing High School, Brooklyn, N.Y. 

AMERICAN POEMS: 

Edited by Ernest Clapp Notes, Head of 
the Department of English, Peabody High 
School, Pittsburgh, Pa. 




CAIUS JULIUS CESAR 

[See note, page 108] 



Cfte ISarneg OEnglt^f) &zm 

THE 
TRAGEDY OF JULIUS CAESAR 

By WILLIAM SHAKSPERE 

EDITED FOR THE USE OF SCHOOLS 
BY 

CHARLES ADDISON DAWSON, Ph.D. 

HEAD OF THE ENGLISH DEPARTMENT, CENTRAL HIGH SCHOOL 
SYRACUSE, N.Y. 

" So have I seen when Caesar would appear, 
And on the stage at half-sword parley were 
Brutus and Cassius: Oh! how the audience 
Were ravish'd, with what wonder went they thence." 

Leonard Digges. (1640) 



m 



NEW YORK 

THE A. S. BARNES COMPANY 

1913 



ffaf 



COPYRIGHT, 191 3, BY 
THE A. S. BARNES COMPANY 



THE- PLIMPTON -PRESS 

NORWOOD -M ASS- U'S-A 



©CI.A358635 



CONTENTS 

PAGE 

Introduction vii 

The Persons in the Play 2 

The Text of the Play 3 

Time Schedule of the Play . 100 

Verse; Prose; Structure 101 

NOTES 105 

APPENDICES 118 

I. Reading the Play: The Stage Picture . . . 118 

II. Stage History: Character Interpretation . . 121 

III. Selections from Plutarch's "Caesar" and "Brutus" 128 

GLOSSARY 135 



INTRODUCTION 

"A play is a story devised to be presented by actors 
on a stage before an audience." 1 This sentence 
furnishes the clue to the fruitful method of studying 
Shakspere in schools. Whenever possible, as a 
climax to the study, the play, in part or entire, should 
be presented on the school stage. One or two scenes 
may be done in the usual class hour. It is not neces- 
sary that all the parts should be memorized, but such 
work should be done as shall leave upon the class an 
impression of the "action" and the various "pictures " 
demanded by the conventions of the present day 
stage. In this connection the "business" suggested 
by Shakspere's lines will appear, and the use and 
meaning of many apparently meaningless phrases 
will become clear to the pupils, as never in the usual 
class-room exercise. 

It is of the first importance that pupils should get 
a clear notion of what makes a play. What do we 
mean by calling Julius Caesar, out of all doubt, an 
excellent, popular play? A first answer is indicated 
by the fact that it needs no great number of textual 
notes. In the second place, the story is of that grip- 
ping, conflict sort that embodies our common notion 
of "dramatic," — "no struggle, no drama." 2 Then, 
the dramatist has combined and moulded his mate- 
rial with a fine regard for the demands of a stage to 
which a box-office is attached. In other words, he 

1 Clayton Hamilton, "The Theory of the Theatre," p. 1. 

2 But compare William Archer, " Play-Making," p. 31 ff. 



vi INTRODUCTION 

has so fashioned a great human story that it conveys 
itself to the eyes and ears of a theater full of people 
and makes them come again. The play contains 
two or three supreme conflict scenes for which alone 
spectators are content to sit through the entire per- 
formance. Again, with a notable restraint, the play 
combines the crowd and the procession, always loved 
by the people, with the proper dramatic action of 
smaller groups of actors. Finally, the speech cloth- 
ing of all this action satisfies the reader, both in 
sound and in thought. 

The "apparatus" in this edition has been arranged 
with the purpose of aiding this sort of study of Julius 
Coesar. The heavy brackets in the text indicate the 
portions that may well be omitted in presentation. 
Suggestions for reading and simple staging will be 
found in Appendix I. Rather more space than is 
usual in school editions has been given to note and 
comment from the actor's and reader's point of view. 
(App. II, and Notes.) The text of Julius Ccesar pre- 
sents no serious problems. In the present edition nu- 
merous readings of the First Folio, commonly altered 
in modern texts, have been retained, either because 
the emended reading seems to give no better "sense," 
or because the Folio reading is sufficiently plain and 
clearly better suited to oral reading. Words seeming 
to need special explanation are gathered together 
in a Glossary. Sources used in the preparation of the 
book are sufficiently indicated where citations are 

made ' C. A. D, 

Syracuse, N.Y., June, 1913. 



THE TRAGEDY OF JULIUS CJESAR 



THE PERSONS IN THE PLAY 



Triumvirs after the death of Julius Caesar. 



Julius Cesar. 

Octavius Cesar, 

Marcus Antonius, 

M. ^Emilius Lepidus, 

Cicero. 

Publius, 

Popilius Lena, 

Marcus Brutus, 

Cassius, 

Casca, 

ClNNA, 

Trebonius, 

LlGARIUS, 

Decius Brutus, 

Metellus Cimber, 

Flavius, 

Marullus, 

Artemidorus, a teacher of Rhetoric. 

Cinna, a Poet; another Poet; a Soothsayer. 

Titinius, 

Messala, 

Young Cato, 

Lucilius, 

volumnius, 

Varro, 

Clitus, 

Claudius, 

Strato, 

Lucius, 

Dardanius, J 

Pindarus, Servant to Cassius. 

1.4 Carpenter 
J 4 Cobbler 
•'Calpurnia, wife to Caesar. 

Portia, wife to Brutus. 

Senators, Citizens, Guards, Attendants, etc. 



Senators. 



► Conspirators against Julius Caesar. 



Tribunes and enemies to Julius Caesar. 



Friends to Brutus and Cassius. 



Servants to Brutus. 



SCENE — Rome; Sardis; and near Philippi. 



THE TRAGEDY OF 
JULIUS CAESAR 

ACT I 

Scene I 

Rome. A street 

Enter Flavius, Marullus, and certain Commoners 
over the stage 

Flav. Hence! home, you idle creatures, get you 
home: 
Is this a holiday? What! know you not, 
Being mechanical, you ought not walk 
Upon a laboring-day without the sign 
Of your profession? — Speak, what trade art thou? 

Car. Why, sir, a carpenter. 

Mar. Where is thy leather apron, and thy rule? 
What dost thou with thy best apparel on? 
You, sir, what trade are you? 

Cob. Truly, sir, in respect of a fine workman, 10 
I am but, as you would say, a cobbler. 

Mar. But what trade art thou? Answer me di- 
rectly. 

Cob. A trade, sir, that I hope I may use with a 
safe conscience; which is, indeed, sir, a mender of 
bad soles. 



4 JULIUS C/ESAR [Act I 

Mar. What trade, thou knave? thou naughty 
knave, what trade? 

Cob. Nay, I beseech you, sir, be not out with 
me; yet, if you be out, sir, I can mend you. 

Mar. What meanest thou by that? Mend me, 
20 thou saucy fellow? 

Cob. Why, sir, cobble you. 

Flav. Thou art a cobbler, art thou? 

Cob. Truly, sir, all that I live by is with the awl: 
I meddle with no tradesman's matters, nor women's 
matters; but withal I am, indeed, sir, a surgeon to 
old shoes; when they are in great danger, I recover 
them. As proper men as ever trod upon neat's- 
leather have gone upon my handiwork. 

Flav. But wherefore art not in thy shop to-day? 
30 Why dost thou lead these men about the streets? 

Cob. Truly, sir, to wear out their shoes, to get 
myself into more work. But, indeed, sir, we make 
holiday, to see Caesar and to rejoice in his triumph. 

Mar. Wherefore rejoice? What conquest brings 
he home? 
What tributaries follow him to Rome, 
To grace in captive bonds his chariot wheels? 
You blocks, you stones, you worse than senseless 

things ! 
O you hard hearts, you cruel men of Rome, 
Knew you not Pompey? Many a time and oft 
40 Have you climbed up to walls and battlements, 
To towers and windows, yea, to chimney-tops, 
Your infants in your arms, and there have sat 
The livelong day, with patient expectation, 
To see great Pompey pass the streets of Rome: 



Scene 1] JULIUS CESAR 5 

And when you saw his chariot but appear, 

Have you not made an universal shout, 

That Tiber trembled underneath her banks 

To hear the replication of your sounds, 

Made in her concave shores? 

And do you now put on your best attire? 50 

And do you now cull out a holiday? 

And do you now strew flowers in his way 

That comes in triumph over Pompey's blood? 

Be gone! 

Run to your houses, fall upon your knees, 

Pray to the gods to intermit the plague 

That needs must light on this ingratitude. 

Flav. Go, go, good countrymen, and, for this 
fault, 
Assemble all the poor men of your sort; 
Draw them to Tiber banks, and weep your tears 60 
Into the channel, till the lowest stream 
Do kiss the most exalted shores of all. 

[Exeunt Citizens. 
See, whe'r their basest mettle be not moved; 
They vanish tongue-tied in their guiltiness. 
[Go you down that way towards the Capitol; 
This way will I. Disrobe the images, 
If you do find them decked with ceremonies. 

Mar. May we do so? 
You know it is the feast of Lupercal. 

Flav. It is no matter; let no images 70 

Be hung with Caesar's trophies. I'll about, 
And drive away the vulgar from the streets: 
So do you too, where you perceive them thick. 
These growing feathers plucked from Caesar's wing 



6 JULIUS C^SAR [Act I 

Will make him fly an ordinary pitch, 

Who else would soar above the view of men, 

And keep us all in servile fearfulness. [Exeunt.] 

[Scene II] 

A public place 

Enter Cesar; Antony, for the course; Calpurnia, 
Portia, Decius, Cicero, Brutus, Cassius, 
Casca, and a Soothsayer; a great crowd following. 
After them Marullus and Flavius. 

Cobs. Calpurnia. 

Casca. Peace, ho! Caesar speaks. [Music ceases. 

Cobs. Calpurnia. 

Cal. Here, my lord. 

Cobs. Stand you directly in Antonius' way, 
When he doth run his course. Antonius. 

Ant. Caesar, my lord. 

Cobs. Forget not, in your speed, Antonius, 
To touch Calpurnia; for our elders say, 
The barren, touched in this holy chase, 
Shake off their sterile curse. 

Ant. I shall remember: 

10 When Caesar says "Do this," it is performed. 

Cobs. Set on; and leave no ceremony out. [Music. 

Sooth. Caesar. 

Cobs. Ha! who calls? 

Casca. Bid every noise be still: peace yet again. 

[Music ceases. 

Cobs. Who is it in the press that calls on me? 
I hear a tongue, shriller than all the music, 
Cry "Caesar." Speak; Caesar is turned to hear. 



Scene 2] JULIUS C^SAR 7 

Sooth. Beware the ides of March. 

Cobs. What man 'fs that? 

Bru. A soothsayer bids you beware the ides of 
March. 

Cobs. Set him before me; let me see his face. 20 

Cas. Fellow, come from the throng: look upon 
Csesar. 

Cobs. What say'st thou to me now? Speak once 
again. 

Sooth. Beware the ides of March. 

Cobs. He is a dreamer; let us leave him: pass. 

[Sennet. Exeunt all but Brutus and Cassius. 

Cas. Will you go see the order of the course? 

Bru. Not I. 

Cas. I pray you, do. 

Bru. I am not gamesome: I do lack some part 
Of that quick spirit that is in Antony. 
Let me not hinder, Cassius, your desires; 30 

I'll leave you. 

Cas. Brutus, I do observe you now of late: 
I have not from your eyes that gentleness 
And show of love as I was wont to have: 
You bear too stubborn and too strange a hand 
Over your friend that loves you. 

Bru. Cassius, 

Be not deceived: if I have veiled my look, 
I turn the trouble of my countenance 
Merely upon myself. Vexed I am, 
Of late, with passions of some difference, 40 

Conceptions only proper to myself, 
Which give some soil, perhaps, to my behaviors; 
But let not therefore my good friends be grieved — 



8 JULIUS CESAR [Act I 

Among which number, Cassius, be you one — 
Nor construe any further my neglect, 
Than that poor Brutus, with himself at war, 
Forgets the shows of love to other men. 

Cas. Then, Brutus, I have much mistook your 
passion; 
By means whereof this breast of mine hath buried 
50 Thoughts of great value, worthy cogitations. 
Tell me, good Brutus, can you see your face? 

Bru. No, Cassius: for the eye sees not itself 
But by reflection, by some other things. 

Cas. 'Tis just; 
And it is very much lamented, Brutus, 
That you have no such mirrors as will turn 
Your hidden worthiness into your eye, 
That you might see your shadow. I have heard, 
Where many of the best respect in Rome — 
60 Except immortal Caesar — speaking of Brutus, 
And groaning underneath this age's yoke, 
Have wished that noble Brutus had his eyes. 

Bru. Into what dangers would you lead me, 
Cassius, 
That you would have me seek into myself 
For that which is not in me? 

Cas. Therefore, good Brutus, be prepared to hear: 
And, since you know you cannot see yourself 
So well as by reflection, I, your glass, 
Will modestly discover to yourself 
70 That of yourself which you yet know not of. 
And be not jealous on me, gentle Brutus: 
Were I a common laughter, or did use 
To stale with ordinary oaths my love 



Scene 2] JULIUS C^SAR 9 

To every new protester: if you know 
That I do fawn on men, and hug them hard, 
And after scandal them; or if you know 
That I profess myself in banqueting 
To all the rout, then hold me dangerous. 

[Flourish and shout. 

Bru. What means this shouting? I do fear the 
people 
Choose Caesar for their king. 

Cas. Ay, do you fear it? 80 

Then must I think you would not have it so. 

Bru. I would not, Cassius; yet I love him well. 
But wherefore do you hold me here so long? 
What is it that you would impart to me? 
If it be aught toward the general good, 
Set honor in one eye, and death i' the other, 
And I will look on both indifferently: 
For let the gods so speed me as I love 
The name of honor more than I fear death. 

Cas. I know that virtue to be in you, Brutus, 90 
As well as I do know your outward favor. 
Well, honor is the subject of my story. 
I cannot tell what you and other men 
Think of this life; but, for my single self, 
I had as lief not be as live to be 
In awe of such a thing as I myself. 
I was born free as Caesar; so were you: 
We both have fed as well, and we can both 
Endure the winter's cold as well as he: 
For once, upon a raw and gusty day, 100 

The troubled Tiber chafing with her shores, 
Csesar said to me, "Darest thou, Cassius, now 



10 JULIUS CAESAR [Act I 

Leap in with me into this angry flood, 

And swim to yonder point? " Upon the word, 

Accoutred as I was, I plunged in, 

And bade him follow: so, indeed, he did. 

The torrent roared; and we did buffet it 

With lusty sinews, throwing it aside 

And stemming it with hearts of controversy. 

110 But ere we could arrive the point proposed, 
Caesar cried, "Help me, Cassius, or I sink! " 
I, as iEneas, our great ancestor, 
Did from the flames of Troy upon his shoulder 
The old Anchises bear, so from the waves of Tiber 
Did I the tired Caesar: and this man 
Is now become a god; and Cassius is 
A wretched creature, and must bend his body, 
If Caesar carelessly but nod on him. 
He had a fever when he was in Spain, 

120 And when the fit was on him I did mark 

How he did shake: 'tis true, this god did shake; 

His coward lips did from their color fly; 

And that same eye whose bend doth awe the world 

Did lose his lustre: I did hear him groan: 

Ay, and that tongue of his, that bade the Romans 

Mark him, and write his speeches in their books, 

Alas! it cried, "Give me some drink, Titinius," 

As a sick girl. Ye gods, it doth amaze me, 

A man of such a feeble temper should 

130 So get the start of the majestic world, 

And bear the palm alone. [Shout. Flourish, 

Bru. Another general shout! 
I do believe that these applauses are 
For some new honors that are heaped on Caesar. 



Scene 2] JULIUS CiESAR 11 

Cas. Why man, he doth bestride the narrow 
world, 
Like a Colossus, and we petty men 
Walk under his huge legs, and peep about 
To find ourselves dishonorable graves. 
Men at some time are masters of their fates: 
The fault, dear Brutus, is not in our stars, 140 

But in ourselves, that we are underlings. 
Brutus and Coesar: what should be in that Ccesar? 
Why should that name be sounded more than 

yours? 
Write them together, yours is as fair a name; 
Sound them, it doth become the mouth as well; 
Weigh them, it is as heavy; conjure with 'em, 
Brutus will start a spirit as soon as Coesar. [Shout. 
Now in the names of all the gods at once, 
Upon what meat doth this our Caesar feed, 
That he is grown so great? Age, thou art shamed! 150 
Rome, thou hast lost the breed of noble bloods ! 
When went there by an age, since the great flood, 
But it was famed with more than with one man? 
When could they say, till now, that talked of Rome, 
That her wide walls encompassed but one man? 
Now is it Rome indeed, and room enough, 
When there is in it but one only man. 
O ! you and I have heard our fathers say 
There was a Brutus once that would have brooked 
The eternal devil to keep his state in Rome, 160 

As easily as a king. 

Bru. That you do love me, I am nothing jealous : 
What you would work me to, I have some aim; 
How I have thought of this, and of these times, 



12 JULIUS CAESAR [Act I 

I shall recount hereafter; for this present, 
I would not, so with love I might entreat you, 
Be any further moved. What you have said 
I will consider; what you have to say 
I will with patience hear: and find a time 
170 Both meet to hear and answer such high things. 
[Till then, my noble friend, chew upon this: 
Brutus had rather be a villager 
Than to repute himself a son of Rome 
Under these hard conditions as this time 
Is like to lay upon us. 

Cas. I am glad that my weak words 
Have struck but thus much show of fire from 
Brutus. 

Enter Caesar and his Train 

Bru.] The games are done, and Caesar is returning. 

Cas. As they pass by, pluck Casca by the sleeve; 
180 And he will, after his sour fashion, tell you 
What hath proceeded worthy note to-day. 

Bru. I will do so: but look you, Cassius, 
The angry spot doth glow on Caesar's brow, 
And all the rest look like a chidden train: 
[Calpurnia's cheek is pale; and Cicero 
Looks with such ferret and such fiery eyes, 
As we have seen him in the Capitol, 
Being crossed in conference by some senators.] 

Cas. Casca will tell us what the matter is. 
190 Cobs. Antonius. 

Ant. Caesar? 

Cass. Let me have men about me that are fat; 
Sleek-headed men, and such as sleep o' nights: 



Scene 2] JULIUS CAESAR 13 

Yond Cassius has a lean and hungry look; 
He thinks too much: such men are dangerous. 

Ant. Fear him not, Csesar; he's not dangerous; 
He is a noble Roman, and well given. 

Cobs. Would he were fatter; but I fear him not: 
Yet if my name were liable to fear, 
I do not know the man I should avoid 200 

So soon as that spare Cassius. He reads much; 
He is a great observer, and he looks 
Quite through the deeds of men : he loves no plays, 
As thou dost, Antony: he hears no music: 
Seldom he smiles; and smiles in such a sort 
As if he mocked himself, and scorned his spirit 
That could be moved to smile at any thing. 
Such men as he be never at heart's ease 
Whiles they behold a greater than themselves; 
And therefore are they very dangerous. 210 

I rather tell thee what is to be feared 
Than what I fear, for always I am Csesar. 
Come on my right hand, for this ear is deaf, 
And tell me truly what thou think'st of him. 
Sennet. Exeunt Cesar and his train. Casca stays. 

Casca. You pulled me by the cloak: would you 
speak with me? 

Bru. Ay, Casca; tell us what hath chanced to-day, 
That Caesar looks so sad? 

Casca. Why, you were with him, were you not? 

Bru. I should not then ask Casca what had 
chanced. 

Casca. Why, there was a crown offered him : and 220 
being offered him, he put it by with the back of his 
hand, thus; and then the people fell a-shouting. 



14 JULIUS C^SAR [Act I 

Bru. What was the second noise for? 

Casca. Why, for that too. 

Cas. They shouted thrice : what was the last cry for? 

Casca. Why, for that too. 

Bru. Was the crown offered him thrice? 

Casca. Ay, marry, was't, and he put it by thrice, 
every time gentler than other; and at every putting 
230 by, mine honest neighbors shouted. 

Cas. Who offered him the crown? 

Casca. Why, Antony. 

Bru. Tell us the manner of it, gentle Casca. 

Casca. I can as well be hanged as tell the manner 
of it: it was mere foolery; I did not mark it. I saw 
Mark Antony offer him a crown; yet, 'twas not a 
crown neither, 'twas one of these coronets; and, as 
I told you, he put it by once; but, for all that, to my 
thinking, he would fain have had it. Then he 
240 offered it to him again; then he put it by again: 
but, to my thinking, he was very loth to lay his 
fingers off it. And then he offered it the third time; 
he put it the third time by : and still as he refused it, 
the rabblement shouted, and clapped their chopped 
hands, and threw up their sweaty night-caps, and 
uttered such a deal of stinking breath because 
Caesar refused the crown that it had almost choked 
Caesar; for he s wounded, and fell down at it: and 
for mine own part, I durst not laugh, for fear of 
250 opening my lips and receiving the bad air. 

Cas. But, soft, I pray you: what, did Caesar 
swound? 

Casca. He fell down in the market-place, and 
foamed at mouth, and was speechless. 



Scene 2] JULIUS C^SAR 15 

Bru. 'Tis very like: he hath the falling-sickness. 

Cas. No, Caesar hath it not; but you and I, 
And honest Casca, we have the falling-sickness. 

Casca. I know not what you mean by that; but, I 
am sure Caesar fell down. If the tag-rag people did 
not clap him and hiss him, according as he pleased 
and displeased them, as they use to do the players 260 
in the theatre, I am no true man. 

Bru. What said he when he came unto himself? 

Casca. Marry, before he fell down, when he per- 
ceived the common herd was glad he refused the 
crown, he plucked me ope his doublet, and offered 
them his throat to cut. And I had been a man of 
any occupation, if I would not have taken him at a 
word, I would I might go to hell among the rogues. 
And so he fell. When he came to himself again, he 
said, if he had done or said any thing amiss, he de-270 
sired their worships to think it was his infirmity. 
Three or four wenches, where I stood, cried "Alas, 
good soul! " and forgave him with all their hearts: 
but there's no heed to be taken of them; if Caesar 
had stabbed their mothers, they would have done 
no less. 

Bru. And after that he came thus sad away? 

Casca. Ay. 

Cas. Did Cicero say any thing? 

Casca. Ay, he spoke Greek. 280 

Cas. To what effect? 

Casca. Nay, and I tell you that I'll ne'er look you 
i' the face again: but those that understood him 
smiled at one another, and shook their heads: but, 
for mine own part, it was Greek to me. I could tell 



16 JULIUS C^SAR [Act I 

you more news too: Marullus and Flavius, for pull- 
ing scarfs off Caesar's images, are put to silence. 
Fare you well. There was more foolery yet, if I 
could remember it. 
290 Cas. Will you sup with me to-night, Casca? 

Casca. No, I am promised forth. 

Cas. Will you dine with me to-morrow? 

Casca. Ay, if I be alive, and your mind hold, and 
your dinner worth the eating. 

Cas. Good; I will expect you. 

Casca. Do so; farewell both. [Exit. 

Bru. What a blunt fellow is this grown to be! 
He was quick mettle when he went to school. 

Cas. So is he now, in execution 
300 Of any bold or noble enterprise, 
However he puts on this tardy form. 
/This rudeness is a sauce to his good wit, 
Which gives men stomach to digest his words 
With better appetite. 

Bru. And so it is. For this time I will leave you : 
To-morrow, if you please to speak with me, 
I will come home to you; or, if you will, 
Come home to me, and I will wait for you. 

Cas. I will do so: till then, think of the world. 

[Exit Brutus. 
310 Well, Brutus, thou art noble; yet, I see 
Thy honorable mettle may be wrought 
From that it is disposed: therefore 'tis meet 
That noble minds keep ever with their likes: 
For who so firm that cannot be seduced? 
Csesar doth bear me hard: but he loves Brutus: 
If I were Brutus now, and he were Cassius, 






Scene 3] JULIUS CESAR 17 

He should not humor me. I will this night, 

In several hands, in at his windows throw, 

As if they came from several citizens, 

Writings all tending to the great opinion 320 

That Rome holds of his name; wherein obscurely 

Caesar's ambition shall be glanced at; 

And, after this, let Csesar seat him sure; 

For we will shake him, or worse days endure. [Exit. 

[Scene III] 

A street 

[Thunder and lightning. Enter, from opposite sides, 
Casca, with his sword drawn, and Cicero. 

Cic. Good even, Casca: brought you Caesar home? 
Why are you breathless? and why stare you so? 

Casca. Are not you moved, when all the sway of 
earth 
Shakes like a thing infirm? O Cicero, 
I have seen tempests, when the scolding winds 
Have rived the knotty oaks; and I have seen 
The ambitious ocean swell and rage and foam, 
To be exalted with the threatening clouds: 
But never till to-night, never till now, 
Did I go through a tempest dropping fire. 10 

Either there is a civil strife in heaven, 
Or else the world, too saucy with the gods, 
Incenses them to send destruction. 

Cic. Why, saw you any thing more wonderful? 

Casca. A common slave — you know him well by 
sight — 
Held up his left hand, which did flame and burn 



18 JULIUS CAESAR [Act I 

Like twenty torches joined; and yet his hand, 
Not sensible of fire, remained unscorched. 
Besides — I ha' not since put up my sword — 
20 Against the Capitol I met a lion, 

Who glared upon me, and went surly by 
Without annoying me: and there were drawn 
Upon a heap a hundred ghastly women, 
Transformed with their fear, who swore they saw 
Men all in fire walk up and down the streets. 
And yesterday the bird of night did sit, 
Even at noonday, upon the market-place, 
Hooting and shrieking. When these prodigies 
Do so conjointly meet, let not men say, 
30 "These are their reasons, — they are natural; " 
For, I believe, they are portentous things 
Unto the climate that they point upon. 

Cic. Indeed, it is a strange-disposed time: 
But men may construe things after their fashion, 
Clean from the purpose of the things themselves. 
Comes Caesar to the Capitol to-morrow? 

Casca. He doth; for he did bid Antonius 
Send word to you he would be there to-morrow. 

Cic. Good night, then, Casca: this disturbed sky 
Is not to walk in. 
40 Casca. Farewell, Cicero. [Exit Cicero. 

Enter Cassius 

Cas. Who's there? 

Casca. A Roman. 

Cas. Casca, by your voice. 

Casca. Your ear is good. Cassius, what night is 
this! 

Cas. A very pleasing night to honest men. 



Scene 3] JULIUS CESAR 19 

Casca. Who ever knew the heavens menace so? 

Cas. Those that have known the earth so full of 
faults. 
For my part, I have walked about the streets, 
Submitting me unto the perilous night; 
And, thus unbraced, Casca, as you see, 
Have bared my bosom to the thunder-stone: 
And when the cross blue lightning seemed to open 50 
The breast of heaven, I did present myself 
Even in the aim and very flash of it. 

Casca. But wherefore did you so much tempt the 
heavens? 
It is the part of men to fear and tremble, 
When the most mighty gods, by tokens, send 
Such dreadful heralds to astonish us. 

Cas. You are dull, Casca; and those sparks of life 
That should be in a Roman you do want, 
Or else you use not. You look pale and gaze 
And put on fear and cast yourself in wonder, 60 

To see the strange impatience of the heavens: 
But, if you would consider the true cause 
Why all these fires, why all these gliding ghosts, 
Why birds and beasts from quality and kind; 
Why, old men, fools, and children calculate 
Why all these things change from their ordinance, 
Their natures, and pre-formed faculties, 
To monstrous quality; why, you shall find 
That heaven hath infused them with these spirits, 
To make them instruments of fear and warning 70 

Unto some monstrous state. 
Now could I, Casca, name to thee a man 
Most like this dreadful night; 



20 JULIUS C^SAR [Act I 

That thunders, lightens, open graves, and roars 

As doth the lion in the Capitol; 

A man no mightier than thyself or me 

In personal action; yet prodigious grown 

And fearful, as these strange eruptions are. 

Casca. 'Tis Csesar that you mean; is it not, 
Cassius? 
80 Cas. Let it be who it is: for Romans now 
Have thews and limbs like to their ancestors; 
But, woe the while! our fathers' minds are dead, 
And we are governed with our mothers' spirits; 
Our yoke and sufferance show us womanish. 

Casca. Indeed, they say the senators to-morrow 
Mean to establish Caesar as a king: 
And he shall wear his crown by sea and land, 
In every place, save here in Italy. 

Cas. I know where I will wear this dagger then; 
90 Cassius from bondage will deliver Cassius. 

Therein, ye gods, you make the weak most 

strong; 
Therein, ye gods, you tyrants do defeat: 
Nor stony tower, nor walls of beaten brass, 
Nor airless dungeon, nor strong links of iron, 
Can be retentive to the strength of spirit: 
But life, being weary of these worldly bars, 
Never lacks power to dismiss itself. 
If I know this, know all the world besides, 
That part of tyranny that I do bear 
I can shake off at pleasure. [Thunder still, 

100 Casca. So can I: 

So every bondman in his own hand bears 
The power to cancel his captivity. 



Scene 3] JULIUS CESAR 21 

Cas. And why should Caesar be a tyrant, then? 
Poor man! I know he would not be a wolf, 
But that he sees the Romans are but sheep : 
He were no lion, were not Romans hinds. 
Those that with haste will make a mighty fire 
Begin it with weak straws : what trash is Rome, 
What rubbish, and what offal, when it serves 
For the base matter to illuminate 110 

So vile a thing as Caesar! But, O grief, 
Where hast thou led me? I perhaps speak this 
Before a willing bondman: then I know 
My answer must be made: but I am armed, 
And dangers are to me indifferent. 

Casca. You speak to Casca; and to such a man 
That is no fleering tell-tale. Hold, my hand: 
Be factious for redress of all these griefs; 
And I will set this foot of mine as far 
As who goes farthest. 

Cas. There's a bargain made. 120 

Now know you, Casca, I have moved already 
Some certain of the noblest-minded Romans 
To undergo with me an enterprise 
Of honorable dangerous consequence; 
And I do know by this they stay for me 
In Pompey's porch: for now, this fearful night, 
There is no stir or walking in the streets; 
And the complexion of the element 
In favor's like the work we have in hand, 
Most bloody, fiery, and most terrible. 130 

Enter Cinna 

Casca. Stand close awhile, for here comes one in 
haste. 



22 JULIUS C^SAR [Act I 

Cas. 'Tis Cinna; I do know him by his gait; 
He is a friend. Cinna, where haste you so? 

Cin. To find out you. Who's that? Metellus 
Cimber? 

Cas. No, it is Casca; one incorporate 
To our attempts. Am I not stayed for, Cinna? 

Cin. I am glad on't. What a fearful night is this ! 
There's two or three of us have seen strange sights. 

Cas. Am I not stayed for? Tell me. 

Cin. Yes, you are. 

140 O Cassius, if you could 

But win the noble Brutus to our party — 

Cas. Be you content. Good Cinna, take this 
paper, 
And look you lay it in the praetor's chair, 
Where Brutus may but find it; and throw this 
In at his window: set this up with wax 
Upon old Brutus' statue; all this done, 
Repair to Pompey's porch, where you shall find 

us. 
Is Decius Brutus and Trebonius there? 

Cin. All but Metellus Cimber; and he's gone 
150 To seek you at your house. Well, I will hie, 
And so bestow these papers as you bade me. 

Cas. That done, repair to Pompey's theatre. 

[Exit Cinna. 
Come, Casca, you and I will yet, ere day, 
See Brutus at his house : three parts of him 
Is ours already; and the man entire, 
Upon the next encounter, yields him ours. 

Casca. O, he sits high in all the people's hearts: 
And that which would appear offence in us, 



Scene 3] JULIUS CESAR 23 

His countenance, like richest alchemy, 
Will change to virtue and to worthiness. 160 

Cas. Him and his worth and our great need of 
him, 
You have right well conceited. Let us go, 
For it is after midnight; and ere day 
We will awake him, and be sure of him. [Exeunt.] 



ACT II 

[Scene I] 

Rome. Brutus's orchard 

Enter Brutus 

Bru. What, Lucius, ho! 
I cannot, by the progress of the stars, 
Give guess how near to day. Lucius, I say! 
I would it were my fault to sleep so soundly. 
When, Lucius, when! Awake, I say! What, 
Lucius ! 

Enter Lucius 

Luc. Called you, my lord? 

Bru. Get me a taper in my study, Lucius: 
When it is lighted, come and call me here. 

Luc. I will, my lord. [Exit. 

10 Bru. It must be by his death : and, for my part, 
I know no personal cause to spurn at him, 
But for the general. He would be crowned: 
How that might change his nature, there's the 

question. 
It is the bright day that brings forth the adder; 
And that craves wary walking. Crown him? — 

that; — 
And then, I grant, we put a sting in him, 
That at his will he may do danger with. 
The abuse of greatness is when it disjoins 



Scene 1] JULIUS CiESAR 25 

Remorse from power: and, to speak truth of Caesar, 
I have not known when his affections swayed 20 

More than his reason. But 'tis a common proof 
That lowliness is young ambition's ladder, l 
Whereto the climber-upward turns his face: 
But when he once attains the upmost round 
He then unto the ladder turns his back, 
Looks in the clouds, scorning the base degrees 
By which he did ascend: so Caesar may; 
Then, lest he may, prevent. And, since the quarrel 
Will bear no color for the thing he is, 
Fashion it thus: that what he is, augmented, 30 

Would run to these and these extremities: 
And therefore think him as a serpent's egg, 
Which hatched would, as his kind, grow mischiev- 
ous, 
And kill him in the shell. 

Enter Lucius 

Luc. The taper burneth in your closet, sir. 
Searching the window for a flint, I found 
This paper thus sealed up; and I am sure 
It did not lie there when I went to bed. 

[Gives him the letter. 

Bru. Get you to bed again; it is not day. 
Is not to-morrow, boy, the ides of March? 40 

Luc. I know not, sir. 

Bru. Look in the calendar, and bring me word. 

Luc. I will, sir. [Exit. 

Bru. The exhalations whizzing in the air 
Give so much light that I may read by them. 

[Opens the letter, and reads. 



26 JULIUS CESAR [Act II 

Brutus, thou sleep' st; awake, and see thyself. 

Shall Rome, &c. Speak, strike, redress ! — 

Brutus, thou sleep 'st ; awake ! — 
Such instigations have been often dropped 
50 Where I have took them up. 

"Shall Rome, &c." Thus must I piece it out: 
Shall Rome stand under one man's awe? What! 

Rome? 
My ancestors did from the streets of Rome 
The Tarquin drive, when he was called a king. 
"Speak, strike, redress! " — Am I entreated 
To speak and strike? O Rome ! I make thee promise, 
If the redress will follow, thou receivest 
Thy full petition at the hand of Brutus! 

Enter Lucius 
Luf Sir, March is wasted fifteen days. 

[Knocking within. 
Bru. 'Tis good. Go to the gate: somebody 
60 knocks. [Exit Lucius. 

Since Cassius first did whet me against Csesar, 
I have not slept. 

Between the acting of a dreadful thing 
And the first motion, all the interim is 
Like a phantasma, or a hideous dream : 
The genius and the mortal instruments 
Are then in council; and the state of man, 
Like to a little kingdom, suffers then 
The nature of an insurrection. 

Enter Lucius 
70 Luc. Sir, 'tis your brother Cassius at the door, 
Who doth desire to see you. 



Scene 1] JULIUS C.ESAR 27 

Bru. Is he alone? 

Luc. No, sir, there are moe with him. 

Bru. Do you know them? 

Luc. No, sir; their hats are plucked about their 
ears, 
And half their faces buried in their cloaks, 
That by no means I may discover them 
By any mark of favor. 

Bru. Let 'em enter. 

[Exit Lucius. 
They are the faction. O Conspiracy! 
Sham'st thou to show thy dangerous brow by night, 
When evils are most free? O, then, by day 
Where wilt thou find a cavern dark enough 80 

To mask thy monstrous visage? Seek none, Con- 
spiracy; 
Hide it in smiles and affability: 
For if thou path, thy native semblance on, 
Not Erebus itself were dim enough 
To hide thee from prevention. 

Enter the conspirators ■, Cassius, Casca, Decius, 
Cinna, Metellus Cimber, and Trebonius 

Cas. I think we are too bold upon your rest: 
Good morrow, Brutus; do we trouble you? 

Bru. I have been up this hour; awake all night. 
Know I these men that come along with you? 

Cas. Yes, every man of them; and no man here 90 
But honors you: and every one doth wish 
You had but that opinion of yourself 
Which every noble Roman bears of you. 
This is Trebonius. 



28 JULIUS CESAR [Act II 

Bru. He is welcome hither. 

Cas. This, Decius Brutus. 

Bru. He is welcome too. 

Cas. This, Casca; this, Cinna; and this, Metellus 
Cimber. 

Bru. They are all welcome. 
What watchful cares do interpose themselves 
Betwixt your eyes and night? 
100 Cas. Shall I entreat a word? [They whisper. 

Dec. Here lies the east: doth not the day break 
here? 

Casca. No. 

Cin. O, pardon, sir, it doth: and yon gray lines 
That fret the clouds are messengers of day. 

Casca. You shall confess that you are both 
deceived. 
Here, as I point my sword, the sun arises; 
Which is a great way growing on the south, 
Weighing the youthful season of the year. 
Some two months hence up higher toward the north 
110 He first presents his fire; and the high east 
Stands, as the Capitol, directly here. 

Bru. Give me your hands all over, one by one. 

Cas. And let us swear our resolution. 

Bru. No, not an oath: if not the face of men, 
The sufferance of our souls, the time's abuse, — 
If these be motives weak, break off betimes, 
And every man hence to his idle bed; 
So let high-sighted tyranny range on, 
Till each man drop by lottery. But if these, 
120 As I am sure they do, bear fire enough 
To kindle cowards, and to steel with valor 



Scene 1] JULIUS C^SAR 29 

The melting spirits of women; then, countrymen, 

What need we any spur but our own cause 

To prick us to redress? what other bond 

Than secret Romans that have spoke the word, 

And will not palter? and what other oath 

Than honesty to honesty engaged 

That this shall be, or we will fall for it? 

[Swear priests, and cowards, and men cautelous, 

Old feeble carrions, and such suffering souls 130 

That welcome wrongs;] unto bad causes swear 

Such creatures as men doubt: but do not stain 

The even virtue of our enterprise, 

Nor the insuppressive mettle of our spirits, 

To think that or our cause or our performance 

Did need an oath; when every drop of blood 

That every Roman bears, and nobly bears, 

Is guilty of a several bastardy, 

If he do break the smallest particle 

Of any promise that hath passed from him. 140 

Cas. But what of Cicero? shall we sound him? 
I think he will stand very strong with us. 

Casca. Let us not leave him out. 

Cin. No, by no means. 

Met. O, let us have him; for his silver hairs 
Will purchase us a good opinion, 
And buy men's voices to commend our deeds: 
It shall be said his judgment ruled our hands; 
Our youth and wildness shall no whit appear, 
But all be buried in his gravity. 

Bru. O, name him not; let us not break with him; 150 
For he will never follow any thing 
That other men begin. 



30 JULIUS C^SAR [Act II 

Cas. Then leave him out. 

Casca. Indeed, he is not fit. 

Dec. Shall no man else be touched but only 

Caesar? 
Cas. Decius, well urged: I think it is not meet 
Mark Antony, so well beloved of Caesar, 
Should outlive Caesar: we shall find of him 
A shrewd contriver; and you know his means, 
If he improve them, may well stretch so far 
160 As to annoy us all: which to prevent, 
Let Antony and Caesar fall together. 

Bru. Our course will seem too bloody, Caius 
Cassius, 
To cut the head off, and then hack the limbs, 
Like wrath in death and envy afterwards: 
For Antony is but a limb of Caesar. 
Let us be sacrificers, but not butchers, Caius. 
We all stand up against the spirit of Caesar; 
And in the spirit of men there is no blood: 
O, that we then could come by Caesar's spirit, 
170 And not dismember Caesar! But, alas, 

Caesar must bleed for it! And, gentle friends, 
Let's kill him boldly, but not wrathfully; 
Let's carve him as a dish fit for the gods, 
Not hew him as a carcass fit for hounds : 
[And let our hearts, as subtle masters do, 
Stir up their servants to an act of rage, 
And after seem to chide them. This shall make 
Our purpose necessary, and not envious : 
Which so appearing to the common eyes, 
180 We shall be called purgers, not murderers.] 
And for Mark Antony, think not of him; 



Scene 1] JULIUS CESAR 31 

For he can do no more than Caesar's arm, 
When Caesar's head is off. 

Cas. Yet I fear him: 

For in the ingrafted love he bears to Caesar — 

Bru. Alas, good Cassius, do not think of him: 
If he love Caesar, all that he can do 
Is to himself — take thought, and die for Caesar: 
And that were much he should; for he is given 
To sports, to wildness, and much company. 

Treb. There is no fear in him; let him not die; 190 
For he will live, and laugh at this hereafter. 

[Clock strikes. 

Bru. Peace! count the clock. 

Cas. The clock hath stricken three. 

Treb. 'Tis time to part. 

Cas. But it is doubtful yet 

Whether Caesar will come forth to-day or no; 
For he is superstitious grown of late; 
Quite from the main opinion he held once 
Of fantasy, of dreams, and ceremonies; 
It may be these apparent prodigies, 
The unaccustomed terror of this night, 
And the persuasion of his augurers 200 

May hold him from the Capitol to-day. 

Dec. Never fear that: if he be so resolved, 
I can o'ersway him; for he loves to hear 
That unicorns may be betrayed with trees, 
And bears with glasses, elephants with holes, 
Lions with toils, and men with flatterers: 
But when I tell him he hates flatterers, 
He says he does; being then most flattered. 
Let me work: 



32 JULIUS CESAR [Act II 

210 For I can give his humor the true bent; 
And I will bring him to the Capitol. 

Cas. Nay, we will all of us be there to fetch him. 
Bru. By the eighth hour; is that the uttermost? 
Cin. Be that the uttermost, and fail not then. 
Met. Caius Ligarius doth bear Caesar hard, 
Who rated him for speaking well of Pompey; 
I wonder none of you have thought of him. 

Bru. Now, good Metellus, go along by him; 
He loves me well, and I have given him reasons; 
220 Send him but hither, and I'll fashion him. 

Cas. The morning comes upon us: we'll leave 
you, Brutus: 
And, friends, disperse yourselves: but all remember 
What you have said, and show yourselves true 
Romans. 
Bru. Good gentlemen, look fresh and merrily; 
Let not our looks put on our purposes; 
But bear it as our Roman actors do, 
With untired spirits and formal constancy: 
And so, good morrow to you every one. 

[Exeunt all but Brutus. 
Boy! Lucius! — Fast asleep? It is no matter; 
230 Enjoy the honey-heavy dew of slumber: 
Thou hast no figures nor no fantasies, 
Which busy care draws in the brains of men: 
Therefore thou sleep'st so sound. 

Enter Portia 

Por. Brutus, my lord! 

Bru. Portia, what mean you? Wherefore rise 
you now? 



Scene 1] JULIUS C^SAR 33 

It is not for your health thus to commit 
Your weak condition to the raw cold morning. 

Por. Nor for yours neither. You've ungently, 
Brutus, 
Stole from my bed : and yesternight, at supper, 
You suddenly arose and walked about, 
Musing and sighing, with your arms across: 240 

And when I asked you what the matter was, 
You stared upon me with ungentle looks: 
I urged you further; then you scratched your head, 
And too impatiently stamped with your foot: 
Yet I insisted, yet you answered not; 
But with an angry wafture of your hand 
Gave sign for me to leave you: [so I did; 
Fearing to strengthen that impatience 
Which seemed too much enkindled; and withal 
Hoping it was but an effect of humor, 250 

Which sometime hath his hour with every man. 
It will not let you eat nor talk nor sleep; 
And, could it work so much upon your shape 
As it hath much prevailed on your condition, 
I should not know you, Brutus.] Dear my lord, 
Make me acquainted with your cause of grief. 

Bru. I am not well in health, and that is all. 

Por. Brutus is wise, and, were he not in health, 
He would embrace the means to come by it. 

Bru. Why, so I do: good Portia, go to bed. 260 

Por. Is Brutus sick? [and is it physical 
To walk unbraced, and suck up the humors 
Of the dank morning? What, is Brutus sick,] 
And will he steal out of his wholesome bed, 
To dare the vile contagion of the night, 



34 JULIUS C^SAR [Act II 

And tempt the rheumy and unpurged air 
To add unto his sickness? No, my Brutus; 
You have some sick offence within your mind, 
Which, by the right and virtue of my place, 
270 1 ought to know of: and, upon my knees, 
I charm you, by my once commended beauty, 
By all your vows of love, and that great vow 
Which did incorporate and make us one, 
That you unfold to me, yourself, your half, 
Why you are heavy; and what men to-night 
Have had resort to you: for here have been 
Some six or seven, who did hide their faces 
Even from darkness. 

Bru. Kneel not, gentle Portia. 

Por. I should not need, if you were gentle 
Brutus. 
280 Within the bond of marriage, tell me, Brutus, 
Is it excepted I should know no secrets 
That appertain to you? Am I yourself 
But, as it were, in sort or limitation; 
To keep with you at meals, comfort your bed, 
And talk to you sometimes? Dwell I but in the 

suburbs 
Of your good pleasure? If it be no more, 
Portia is Brutus' harlot, not his wife. 

Bru. You are my true and honorable wife, 
As dear to me as are the ruddy drops 
290 That visit my sad heart. 

Por. If this were true, then should I know this 
secret. 
I grant I am a woman; but withal 
A woman that Lord Brutus took to wife: 






Scene 1] JULIUS C^SAR 35 

I grant I am a woman; but withal 

A woman well-reputed, — Cato's daughter. 

Think you I am no stronger than my sex 

Being so fathered and so husbanded? 

Tell me your counsels, I will not disclose 'em : 

I have made strong proof of my constancy, 

Giving myself a voluntary wound 300 

Here in the thigh: can I bear that with patience, 

And not my husband's secrets? 

Bru. O ye gods, 

Render me worthy of this noble wife! 

[Knocking within. 
Hark, hark! one knocks: Portia, go in a while; 
And by and by thy bosom shall partake 
The secrets of my heart. 
All my engagements I will construe to thee, 
All the charactery of my sad brows : — 
Leave me with haste. [Exit Portia.] Lucius, 
who's that knocks? 

Enter Lucius and Ligarius 

Luc. Here is a sick man that would speak with 

you. ^_ 310 

Bru. Caius Ligarius, that Metellus spake of. — 
Boy, stand aside. Caius Ligarius! how? 

Lig. Vouchsafe good morrow from a feeble 

tongue. 
Bru. O, what a time have you chose out, brave 
Caius, 
To wear a kerchief ! Would you were not sick ! 

Lig. I am not sick, if Brutus have in hand 
Any exploit worthy the name of honor. 



36 JULIUS CiESAR [Act II 

Bru. Such an exploit have I in hand, Ligarius, 
[Had you a healthful ear to hear of it. 
320 Lig. By all the gods that Romans bow before, 
I here discard my sickness ! Soul of Rome ! 
Brave son, derived from honorable loins ! 
Thou, like an exorcist, hast conjured up 
My mortified spirit. Now bid me run, 
And I will strive with things impossible; 
Yea, get the better of them. What's to do? 

Bru. A piece of work that will make sick men 
whole. 

Lig. But are not some whole that we must make 
sick? 

Bru. That must we also. What it is, my Caius,] 
330 1 shall unfold to thee, as we are going 
To whom it must be done. 

Lig. Set on your foot; 

And with a heart new fired I follow you, 
To do I know not what: but it sufficeth 
That Brutus leads me on. 

Bru. Follow me then. [Exeunt. 



[Scene II] 

Cesar's house 

Thunder and lightning. Enter Caesar, in his 
nightgown 

Cces. Nor heaven nor earth have been at peace 
to-night : 
Thrice hath Calpurnia in her sleep cried out, 
" Help, ho ! They murder Csesar ! " Who's within? 



Scene 2] JULIUS CiESAR 37 

Enter a Servant 

Serv. My lord. 

Cces. Go bid the priests do present sacrifice, 
And bring me their opinions of success. 

Serv. I will, my lord. [Exit. 

Enter Calpurnia 

Cat. What mean you, Caesar? Think you to 
walk forth? 
You shall not stir out of your house to-day. 

Cces. Csesar shall forth: the things that threat- 
ened me 10 
Ne'er looked but on my back; when they shall see 
The face of Caesar, they are vanished. 

Cat. Caesar, I never stood on ceremonies, 
Yet now they fright me. There is one within, 
Besides the things that we have heard and seen, 
Recounts most horrid sights seen by the watch. 
A lioness hath whelped in the streets; 
And graves have yawned and yielded up their dead : 
Fierce fiery warriors fought upon the clouds, 
In ranks, and squadrons, and right form of war, 20 
Which drizzled blood upon the Capitol: 
The noise of battle hurtled in the air, 
Horses did neigh, and dying men did groan, 
And ghosts did shriek and squeal about the 

streets. 
O Caesar! these things are beyond all use, 
And I do fear them. 

Cobs. What can be avoided 

Whose end is purposed by the mighty gods? 



38 JULIUS C^SAR [Act II 

[Yet Csesar shall go forth: for these predictions 
Are to the world in general, as to Csesar. 
30 Cat. When beggars die, there are no comets seen; 
The heavens themselves blaze forth the death of 
princes. 
Cobs.] Cowards die many times before their deaths : 
The valiant never taste of death but once. 
Of all the wonders that I yet have heard, 
It seems to me most strange that men should fear; 
Seeing that death, a necessary end, 
Will come when it will come. 

Enter Servant 

What say the augurers? 
Serv. They would not have you to stir forth 
to-day. 
Plucking the entrails of an offering forth, 
40 They could not find a heart within the beast. 
Cobs. The gods do this in shame of cowardice; 
Csesar should be a beast without a heart, 
If he should stay at home to-day for fear. 
No, Csesar shall [not: Danger knows full well 
That Csesar is more dangerous than he. 
We are two lions littered in one day, 
And I the elder and more terrible; 
And Csesar shall] go forth. 

Cat. Alas, my lord 

Your wisdom is consumed in confidence. 
50 Do not go forth to-day : call it my fear 

That keeps you in the house, and not your own. 
We'll send Mark Antony to the senate-house; 
And he will say you are not well to-day: 






Scene 2] JULIUS CESAR 89 

Let me, upon my knee, prevail in this. 

Cces. Mark Antony shall say I am not well : 
And, for thy humor, I will stay at home. 

Enter Decius 

Here's Decius Brutus, he shall tell them so. 

Dec. Caesar, all hail! Good morrow, worthy 
Caesar: 
I come to fetch you to the senate-house. 

Cces. And you are come in very happy time 60 

To bear my greetings to the senators, 
And tell them that I will not come to-day: 
Cannot, is false; and that I dare not, falser; 
I will not come to-day: tell them so, Decius. 

Cat. Say he is sick. 

Cces. Shall Csesar send a lie? 

Have I in conquest stretched mine arm so far, 
To be af eared to tell gray beards the truth? 
Decius, go tell them Csesar will not come. 

Dec. Most mighty Caesar, let me know some cause, 
Lest I be laughed at when I tell them so. 70 

Cces. The cause is in my will: I will not come; 
That is enough to satisfy the senate. 
But, for your private satisfaction, 
Because I love you, I will let you know. 
Calpurnia here, my wife, stays me at home: 
She dreamt to-night she saw my statua, 
Which, like a fountain with a hundred spouts, 
Did run pure blood; and many lusty Romans 
Came smiling, and did bathe their hands in it. 
And these does she apply for warnings and portents 80 
Of evils imminent; and on her knee 



40 JULIUS C/ESAR [Act II 

Hath begged that I will stay at home to-day. 

Dec. This dream is all amiss interpreted; 
It was a vision fair and fortunate: 
Your statue, spouting blood in many pipes, 
In which so many smiling Romans bathed, 
Signifies that from you great Rome shall suck 
Reviving blood; and that great men shall press 
For tinctures, stains, relics, and cognizance. 
90 This by Calpurnia's dream is signified. 

Cobs. And this way have you well expounded it. 

Dec. I have, when you have heard what I can say : 
And know it now; the senate have concluded 
To give this day a crown to mighty Caesar. 
If you shall send them word you will not come, 
Their minds may change. Besides, it were a mock 
Apt to be rendered, for some one to say, 
"Break up the senate till another time, 
When Caesar's wife shall meet with better dreams." 
100 If Caesar hide himself, shall they not whisper, 
"Lo, Caesar is afraid? " 
Pardon me, Caesar, for my dear, dear love 
To your proceeding bids me tell you this; 
And reason to my love is liable. 

Cces. How foolish do your fears seem now, Cal- 
purnia ! 
I am ashamed I did yield to them. 
[Give me my robe, for I will go.] 

Enter Publius, Brutus, Ligarius, Metellus, 
Casca, Trebonius, and Cinna 

And look where Publius is come to fetch me. 
Pub. Good morrow, Caesar. 






Scene 2] JULIUS CAESAR 41 

Cces. Welcome, Publius. 

What, Brutus, are you stirred so early too? 110 

[Good morrow, Casca. Caius Ligarius, 
Caesar was ne'er so much your enemy 
As that same ague which hath made you lean. — 
What is't o'clock? 

Bru. Caesar, 'tis strucken eight. 

Cces.] I thank you for your pains and courtesy. 

Enter Antony 

See! Antony, that revels long o' nights, 

Is notwithstanding up. Good morrow, Antony. 

Ant. So to most noble Caesar. 

Cces. Bid them prepare within: 

I am to blame to be thus waited for. 
Now, Cinna: now, Metellus: what, Trebonius! 120 

I have an hour's talk in store for you; 
Remember that you call on me to-day : 
Be near me, that I may remember you. 

Treb. Caesar, I will: — [Aside.] and so near will I 
be, 
That your best friends shall wish I had been further. 

Cces. Good friends, go in, and taste some wine 
with me; 
And we, like friends, will straightway go together. 

Bru. [Aside.] That every like is not the same, O 
Caesar, 
The heart of Brutus earns to think upon ! [Exeunt. 



42 JULIUS CAESAR [Act II 

[Scene III] 

[A street near the Capitol 

[Enter Artemidorus, reading a paper 

Caesar, beware of Brutus; take heed of Cassius; come 
not near Casca; have an eye to Cinna; trust not Tre- 
bonius; mark well Metellus Cimber; Decius Brutus 
loves thee not; thou hast wronged Caius Ligarius. 
There is but one mind in all these men, and it is bent 
against Caesar. If thou beest not immortal, look about 
you: security gives way to conspiracy. The mighty 
gods defend thee! Thy lover, Artemidorus. 

Here will I stand till Csesar pass along, 
10 And as a suitor will I give him this. 
My heart laments that virtue cannot live 
Out of the teeth of emulation. 
If thou read this, O Caesar, thou mayst live: 
If not, the Fates with traitors do contrive. [J5M.] 

[Scene IV] 

[Another part of the same street, before the house of 
Brutus 

Enter Portia and Lucius 

Por. I prithee, boy, run to the senate-house; 
Stay not to answer me, but get thee gone. 
Why dost thou stay? 

Luc. To know my errand, madam. 

Por. I would have had thee there, and here 
again, 
Ere I can tell thee what thou shouldst do there. 



Scene 4] JULIUS C^SAR 43 

constancy, be strong upon my side! 

Set a huge mountain 'tween my heart and tongue! 

1 have a man's mind, but a woman's might. 
How hard it is for women to keep counsel ! — 
Art thou here yet? 

Luc. Madam, what should I do? 10 

Run to the Capitol, and nothing else? 
And so return to you, and nothing else? 

Por. Yes, bring me word, boy, if thy lord look 
well, 
For he went sickly forth : and take good note 
What Caesar doth, what suitors press to him. 
Hark, boy! what noise is that? 

Luc. I hear none, madam. 

Por. Prithee, listen well. 

I heard a bustling rumor, like a fray, 
And the wind brings it from the Capitol. 

Luc. Sooth, madam, I hear nothing. 20 

Enter the Soothsayer 

Por. Come hither, fellow: which way hast thou 
been? 

Sooth. At mine own house, good lady. 

Por. What is't o'clock? 

Sooth. About the ninth hour, lady. 

Por. Is Caesar yet gone to the Capitol? 

Sooth. Madam, not yet; I go to take my stand 
To see him pass on to the Capitol. 

Por. Thou hast some suit to Caesar, hast thou 
not? 

Sooth. That I have, lady: if it will please Caesar 
To be so good to Caesar as to hear me, 



44 JULIUS C^SAR [Act II 

30 1 shall beseech him to befriend himself. 

Por. Why, know'st thou any harm's intended 

towards him? 
Sooth. None that I know will be, much that I 
fear may chance. 
Good morrow to you. Here the street is narrow: 
The throng that follows Caesar at the heels, 
Of senators, of praetors, common suitors, 
Will crowd a feeble man almost to death : 
I'll get me to a place more void, and there 
Speak to great Caesar as he comes along. [Exit. 

Por. I must go in. Ay me! how weak a thing 
40 The heart of woman is ! O Brutus, 

The heavens speed thee in thine enterprise! 
Sure, the boy heard me: Brutus hath a suit 
That Caesar will not grant. O, I grow faint: 
Run, Lucius, and commend me to my lord; 
Say I am merry: come to me again, 
And bring me word what he doth say to thee. 

[Exeunt.] 






ACT III 

[Scene I] 
The Capitol; the Senate sitting 

A crowd of people in the street leading to the Capitol; 

among them Artemidorus and the Soothsayer. 

Flourish. Enter Caesar, Brutus, Cassius, Casca, 

Decius, Metellus, Trebonius, Cinna, Antony, 

Lepidus, Popilius, Publius, and others. 

C&s. The ides of March are come. 

Sooth. Ay, Caesar; but not gone. 

Art. Hail, Caesar! Read this schedule. 

Dec. Trebonius doth desire you to o'er-read, 
At your best leisure, this his humble suit. 

Art. O Caesar, read mine first; for mine's a suit 
That touches Caesar nearer: read it, great Caesar. 

Cces, What touches us ourself shall be last served. 

Art. Delay not, Caesar; read it instantly. 

Cms. What, is the fellow mad? 

Pub. Sirrah, give place. 10 

Cas. What, urge you your petitions in the street? 
Come to the Capitol. 

Ccesar enters the Capitol, the rest following 

Pop. I wish your enterprise to-day may thrive. 
Cas. What enterprise, Popilius? 
Pop. Fare you well. 

[Advances to Cesar. 



46 JULIUS CiESAR [Act III 

Bru. What said Popilius Lena? 
Cas. He wished to-day our enterprise might 
thrive. 
I fear our purpose is discovered. 

Bru. Look, how he makes to Caesar: mark him. 
Cas. Casca, be sudden, for we fear prevention. 
20 Brutus, what shall be done? If this be known, 
Cassius or Caesar never shall turn back, 
For I will slay myself. 

Bru. Cassius, be constant: 

Popilius Lena speaks not of our purposes; 
For, look, he smiles, and Caesar doth not change. 
Cas. Trebonius knows his time; for, look you, 
Brutus, 
He draws Mark Antony out of the way. 

[Exeunt Antony and Trebonius. 
Dec. Where is Metellus Cimber? Let him go, 
And presently prefer his suit to Caesar. 

Bru. He is addressed: press near, and second him. 
30 Cin. Casca, you are the first that rears your hand. 
Ca?s. Are we all ready? What is now amiss 
That Caesar and his senate must redress? 

Met. Most high, most mighty, and most puissant 
Caesar, 
Metellus Cimber throws before thy seat 
An humble heart: — [Kneeling. 

Ca>s. I must prevent thee, Cimber. 

These couchings and these lowly courtesies 
Might fire the blood of ordinary men, 
And turn pre-ordinance and first decree 
Into the law of children. Be not fond, 
40 To think that Caesar bears such rebel blood 



Scene 1] JULIUS C^SAR 47 

That will be thawed from the true quality 

With that which melteth fools; I mean sweet words, 

Low-crooked curtsies, and base spaniel-fawning. 

Thy brother by decree is banished; 

If thou dost bend and pray and fawn for him, 

I spurn thee, like a cur, out of my way. 

Know, Caesar doth not wrong: nor without cause 

Will he be satisfied. 

Met. Is there no voice more worthy than my own 
To sound more sweetly in great Caesar's ear, 50 

For the repealing of my banished brother? 

Bru. I kiss thy hand, but not in flattery, Caesar; 
Desiring thee that Publius Cimber may 
Have an immediate freedom of repeal. 

Cobs. What, Brutus! 

Cas. Pardon, Caesar: Caesar, pardon: 

As low as to thy foot doth Cassius fall 
To beg enfranchisement for Publius Cimber. 

Cobs. I could be well moved, if I were as you; 
If I could pray to move, prayers would move me: 
But I am constant as the northern star, 60 

Of whose true-fixed and resting quality 
There is no fellow in the firmament. 
The skies are painted with unnumbered sparks, 
They are all fire, and every one doth shine; 
But there's but one in all doth hold his place; 
So, in the world: 'tis furnished well with men, 
And men are flesh and blood, and apprehensive; 
Yet, in the number, I do know but one 
That unassailable holds on his rank, 
Unshaked of motion: and that I am he, 70 

Let me a little show it, even in this: 



48 JULIUS CiESAR [Act III 

That I was constant Cimber should be banished, 
And constant do remain to keep him so. 

Cin. Caesar, — 

Cas. Hence! wilt thou lift up Olympus? 

Dec. Great Caesar, — 

Coes. Doth not Brutus bootless kneel? 

Casca. Speak, hands, for me. 

[Casca first, then the other Conspirators, and Mar- 
cus Brutus stab Caesar. 

Cees. Et tu, Brute ? — Then fall, Csesar. 

[Dies. 

[Cin. Liberty! Freedom! Tyranny is dead! 
Run hence, proclaim, cry it about the streets. 
80 Cas. Some to the common pulpits, and cry out, — 
"Liberty, freedom, and enfranchisement! "] 

Bru. People and senators! be not affrighted; 
Fly not; stand still: — ambition's debt is paid. 

[Casca. Go to the pulpit, Brutus. 

Dec. And Cassius too. 

Bru. Where's Publius? 

Cin. Here, quite confounded with this mutiny. 

Met. Stand fast together, lest some friend of 
Caesar's 
Should chance — 

Bru. Talk not of standing. Publius, good cheer;] 
90 There is no harm intended to your person, 
Nor to no Roman else: so tell them, Publius. 

Cas. And leave us, Publius; lest that the people, 
Rushing on us, should do your age some mischief. 

Bru. Do so: and let no man abide this deed 
But we the doers. 



Scene 1] JULIUS C^SAR 49 

Enter Trebonius 

Cas. Where is Antony? 

Tre. Fled to his house amazed: 
Men, wives, and children stare, cry out, and run 
As it were doomsday. 

Bru. Fates, we will know your pleasures : 
That we shall die, we know; 'tis but the time, 100 

And drawing days out, that men stand upon. 

Casca. Why, he that cuts off twenty years of life 
Cuts off so many years of fearing death. 

Bru. Grant that, and then is death a benefit: 
So we are Caesar's friends, that have abridged 
His time of fearing death. [Stoop, Romans, stoop, 
And let us bathe our hands in Caesar's blood 
Up to the elbows, and besmear our swords: 
Then walk we forth, even to the market-place; 
And, waving our red weapons o'er our heads, 110 

Let's all cry, "Peace, freedom, and liberty! " 

Cas. Stoop, then, and wash.] How many ages hence 
Shall this our lofty scene be acted o'er 
In states unborn and accents yet unknown ! 

Bru. How many times shall Caesar bleed in sport, 
That now on Pompey's basis lies along, 
No worthier than the dust! 

Cas. So oft as that shall be, 

So often shall the knot of us be called 
The men that gave their country liberty. 

Dec. What, shall we forth? 

Cas. Ay, every man away: 120 

Brutus shall lead; and we will grace his heels 
With the most boldest and best hearts of Rome. 



50 JULIUS C.ESAR [Act III 

Enter a Servant 

Bru. Soft, who comes here? — A friend of An- 
tony's. 

Serv. Thus, Brutus, did my master bid me 
kneel; 
Thus did Mark Antony bid me fall down; 
And, being prostrate, thus he bade me say: 
"Brutus is noble, wise, valiant, and honest; 
Caesar was mighty, bold, royal, and loving: 
Say I love Brutus and I honor him; 
130 Say I feared Caesar, honored him, and loved 
him. 
If Brutus will vouchsafe that Antony 
May safely come to him and be resolved 
How Caesar hath deserved to lie in death, 
Mark Antony shall not love Caesar dead 
So well as Brutus living; but will follow 
The fortunes and affairs of noble Brutus, 
Thorough the hazards of this untrod state, 
With all true faith." So says my master Antony. 

Bru. Thy master is a wise and valiant Roman; 
140 1 never thought him worse. 

Tell him, so please him come unto this place, 
He shall be satisfied; and, by my honor, 
Depart untouched. 

Serv. I'll fetch him presently. [Exit. 

Bru. I know that we shall have him well to 
friend. 

Cas. I wish we may: but yet have I a mind 
That fears him much; and my misgiving still 
Falls shrewdly to the purpose. 



Scene 1] JULIUS C^SAR 51 

Enter Antony 

Bru. But here comes Antony. Welcome, Mark 
Antony. 

Ant. O mighty Caesar! dost thou lie so low? 
Are all thy conquests, glories, triumphs, spoils, 150 

Shrunk to this little measure? Fare thee well. 
I know not, gentlemen, what you intend, 
Who else must be let blood, who else is rank: 
If I myself, there is no hour so fit 
As Caesar's death's hour; nor no instrument 
Of half that worth as those your swords, made rich 
With the most noble blood of all this world. 
I do beseech ye, if you bear me hard, 
[Now, whilst your purpled hands do reek and smoke,] 
Fulfil your pleasure. Live a thousand years, 160 

I shall not find myself so apt to die: 
No place will please me so, no mean of death, 
As here by Caesar, and by you cut off, 
The choice and master spirits of this age. 

Bru. O Antony ! beg not your death of us. 
Though now we must appear bloody and cruel, 
As, by our hands and this our present act, 
You see we do; yet see you but our hands 
And this the bleeding business they have done: 
Our hearts you see not; they are pitiful; 170 

And pity to the general wrong of Rome — 
As fire drives out fire, so pity, pity — 
Hath done this deed on Caesar. For your part, 
To you our swords have leaden points, Mark 

Antony : 
Our arms in strength of malice and our hearts 



52 JULIUS C^SAR [Act III 

Of brothers' temper, do receive you in 

With all kind love, good thoughts, and reverence. 
Cas. Your voice shall be as strong as any man's 

In the disposing of new dignities. 
180 Bru. Only be patient, till we have appeased 

The multitude, beside themselves with fear; 

And then we will deliver you the cause 

Why I, that did love Caesar when I struck him, 

Have thus proceeded. 

Ant. I doubt not of your wisdom. 

Let each man render me his bloody hand: 

First, Marcus Brutus, will I shake with you; 

Next, Caius Cassius, do I take your hand; 

Now, Decius Brutus, yours; now yours, Metellus; 

Yours, Cinna; and, my valiant Casca, yours; 
190 Though last, not least in love, yours, good Trebonius. 

Gentlemen all, — alas! what shall I say? 

My credit now stands on such slippery ground 

That one of two bad ways you must conceit me, 

Either a coward or a flatterer. 

That I did love thee, Caesar, O, 'tis true: 

If, then, thy spirit look upon us now, 

Shall it not grieve thee dearer than thy death 

To see thy Antony making his peace, 

Shaking the bloody fingers of thy foes, 
200 Most noble! in the presence of thy corse? 

Had I as many eyes as thou hast wounds, 

Weeping as fast as they stream forth thy blood, 

It would become me better, than to close 

In terms of friendship with thine enemies. 

Pardon me, Julius! Here wast thou bayed, brave hart; 

Here didst thou fall; and here thy hunters stand, 



Scene 1] JULIUS CAESAR 53 

Signed in thy spoil, and crimsoned in thy lethe. 

[O world! thou wast the forest to this hart; 

And this, indeed, O world! the heart of thee. 

How like a deer, strucken by many princes, 210 

Dost thou here lie!] 

Cas. Mark Antony, — 

Ant. Pardon me, Caius Cassius; 

The enemies of Caesar shall say this; 
Then, in a friend, it is cold modesty. 

Cas. I blame you not for praising Caesar so; 
But what compact mean you to have with us? 
Will you be pricked in number of our friends; 
Or shall we on, and not depend on you? 

Ant. Therefore I took your hands; but was, 
indeed, 
Swayed from the point, by looking down on Caesar. 220 
Friends am I with you all, and love you all, 
Upon this hope, that you shall give me reasons 
Why and wherein Caesar was dangerous. 

Brn. Or else were this a savage spectacle. 
Our reasons are so full of good regard 
That were you, Antony, the son of Caesar, 
You should be satisfied. 

Ant. That's all I seek: 

And am, moreover, suitor that I may 
Produce his body to the market-place, 
And in the pulpit, as becomes a friend, 230 

Speak in the order of his funeral. 

Bru. You shall, Mark Antony. 

Cas. Brutus, a word with you. — 

[Aside to Brutus.] You know not what you do; do 
not consent 



54 JULIUS C.ESAR [Act III 

That Antony speak in his funeral : 

Know you how much the people may be moved 

By that which he will utter? 

Bru. By your pardon; 

I will myself into the pulpit first, 
And show the reason of our Caesar's death: 
What Antony shall speak, I will protest 
240 He speaks by leave and by permission; 
And that we are contented Caesar shall 
Have all true rites and lawful ceremonies. 
It shall advantage more than do us wrong. 
Cas. I know not what may fall; I like it not. 
Bru. Mark Antony, here, take you Caesar's body. 
You shall not in your funeral speech blame us, 
But speak all good you can devise of Caesar; 
And say you do't by our permission; 
Else shall you not have any hand at all 
250 About his funeral : and you shall speak 
In the same pulpit whereto I am going, 
After my speech is ended. 

Ant. Be it so; 

I do desire no more. 

Bru. Prepare the body then, and follow us. 

[Exeunt all but Antony. 
Ant. O, pardon me, thou bleeding piece of earth, 
That I am meek and gentle with these butchers ! 
Thou art the ruins of the noblest man 
That ever lived in the tide of times. 
Woe to the hand that shed this costly blood! 
260 Over thy wounds now do I prophesy, — 
4 Which, like dumb mouths, do ope their ruby lips 
To beg the voice and utterance of my tongue, — 



Scene 1] JULIUS CAESAR 55 

A curse shall light upon the limbs of men; 

Domestic fury and fierce civil strife 

Shall cumber all the parts of Italy: 

Blood and destruction shall be so in use, 

And dreadful objects so familiar, 

That mothers shall but smile when they behold 

Their infants quartered with the hands of war; 

All pity choked with custom of fell deeds: 270 

And Caesar's spirit, ranging for revenge, 

With Ate by his side, come hot from hell, 

Shall in these confines with a monarch's voice 

Cry "Havoc," and let slip the dogs of war; 

That this foul deed shall smell above the earth 

With carrion men, groaning for burial. 

[Enter a Servant 
You serve Octavius Caesar, do you not? 

Serv. I do, Mark Antony. 

Ant. Caesar did write for him to come to Rome. 

Serv. He did receive his letters, and is coming: 280 
And bid me say to you by word of mouth — 
O Caesar! [Seeing the body. 

Ant. Thy heart is big; get thee apart and weep. 
Passion, I see, is catching; for mine eyes, 
Seeing those beads of sorrow stand in thine, 
Began to water. Is thy master coming? 

Serv. He lies to-night within seven leagues of 
Rome. 

Ant. Post back with speed, and tell him what 
hath chanced: 
Here is a mourning Rome, a dangerous Rome, 
No Rome of safety for Octavius yet; 290 



56 JULIUS CESAR [Act III 

Hie hence, and tell him so. Yet, stay awhile; 

Thou shalt not back till I have borne this corse 

Into the market-place: there shall I try, 

In my oration, how the people take 

The cruel issue of these bloody men; 

According to the which thou shalt discourse 

To young Octavius of the state of things. 

Lend me your hand. [Exeunt, with Caesar's body.] 

[Scene II] 

The Forum 

Enter Brutus and Cassius and a throng of Citizens 
Cit. We will be satisfied; let us be satisfied. 
Bru. Then follow me, and give me audience, 
friends. 

Cassius, go you into the other street, 

And part the numbers. 

Those that will hear me speak, let 'em stay here; 

Those that will follow Cassius, go with him; 

And public reasons shall be rendered 

Of Caesar's death. 

1 Cit. I will hear Brutus speak. 

2 Cit. I will hear Cassius; and compare their 
reasons, 

10 When severally we hear them rendered. 

[Exit Cassius with some of the Citizens. Brutus 
goes into the Rostrum. 

3 Cit. The noble Brutus is ascended : silence ! 
Bru. Be patient till the last. 

Romans, countrymen, and lovers! hear me for my 
cause; and be silent, that you may hear: believe me 



Scene 2] JULIUS C^SAR 57 

for mine honor: and have respect to mine honor, 
that you may believe: censure me in your wisdom; 
and awake your senses that you may the better 
judge. If there be any in this assembly, any dear 
friend of Caesar's, to him I say that Brutus' love 
to Caesar was no less than his. If, then, that friend 20 
demand why Brutus rose against Caesar, this is my 
answer: Not that I loved Caesar less, but that I 
loved Rome more. Had you rather Caesar were 
living, and die all slaves, than that Caesar were dead, 
to live all free men? As Caesar loved me, I weep for 
him; as he was fortunate, I rejoice at it; as he 
was valiant, I honor him: but as he was ambi- 
tious, I slew him. There is tears for his love; joy 
for his fortune; honor for his valor; and death 
for his ambition. Who is here so base that would 30 
be a bondman? If any, speak; for him have I 
offended. Who is here so rude that would not be a 
Roman? If any, speak; for him have I offended. 
Who is here so vile that will not love his country? If 
any, speak; for him have I offended. I pause for a 
reply. 

Citizens. None, Brutus, none. 

Bru. Then none have I offended. I have done no 
more to Caesar than you shall do to Brutus. The 
question of his death is enrolled in the Capitol; his 40 
glory not extenuated, wherein he was worthy; nor 
his offences enforced, for which he suffered death. 

Enter Antony and others, with Cesar's body. 

Here comes his body, mourned by Mark Antony; 
who, though he had no hand in his death, shall 



58 JULIUS C^SAR [Act III 

receive the benefit of his dying, a place in the com- 
monwealth: as which of you shall not? With this 
I depart: that, as I slew my best lover for the good 
of Rome, I have the same dagger for myself, when it 
shall please my country to need my death. 
50 Citizens. Live, Brutus, live! live! 

1 Cit. Bring him with triumph home unto his 
house. 

2 Cit. Give him a statue with his ancestors. 

3 Cit. Let him be Caesar. 

4 Cit. Caesar's better parts 
Shall be crowned in Brutus. 

1 Cit. We'll bring him to his house with shouts 
and clamors. 

Bru. My countrymen, — 

2 Cit. Peace! silence! Brutus speaks. 
1 Cit. Peace, ho! 

Bru. Good countrymen, let me depart alone, 
And, for my sake, stay here with Antony : 
60 Do grace to Caesar's corpse, and grace his speech 
Tending to Caesar's glories; which Mark Antony, 
By our permission, is allowed to make. 
I do entreat you, not a man depart, 
Save I alone, till Antony have spoke. [Exit. 

1 Cit. Stay, ho ! and let us hear Mark Antony. 

3 Cit. Let him go up into the public chair; 
We'll hear him. Noble Antony, go up. 

Ant. For Brutus' sake, I am beholding to you. 

4 Cit. What does he say of Brutus? 

3 Cit. He says, for Brutus' sake, 
70 He finds himself beholding to us all. 

4 Cit. 'Twere best he speak no harm of Brutus here. 



Scene 2] JULIUS C^SAR 59 

1 Cit. This Caesar was a tyrant. 

3 Cit. Nay, that's certain: 

We are blessed that Rome is rid of him. 

2 Cit. Peace; let us hear what Antony can say. 
Ant. You gentle Romans, — 

Citizens. Peace, ho! let us hear him. 

Ant. Friends, Romans, countrymen, lend me 
your ears; 
I come to bury Caesar, not to praise him. 
The evil that men do lives after them; 
The good is oft interred with their bones; 
So let it be with Caesar. The noble Brutus 80 

Hath told you Caesar was ambitious: 
If it were so, it was a grievous fault, 
And grievously hath Caesar answered it. 
Here, under leave of Brutus and the rest, — 
For Brutus is an honorable man; 
So are they all, all honorable men; — 
Come I to speak in Caesar's funeral. 
He was my friend, faithful and just to me: 
But Brutus says he was ambitious; 
And Brutus is an honorable man. 90 

He hath brought many captives home to Rome, 
Whose ransoms did the general coffers fill: 
Did this in Caesar seem ambitious? 
When that the poor have cried, Caesar hath wept: 
Ambition should be made of sterner stuff: 
Yet Brutus says he was ambitious; 
And Brutus is an honorable man. 
You all did see that on the Lupercal 
I thrice presented him a kingly crown, 
Which he did thrice refuse. Was this ambition? 100 



60 JULIUS CESAR [Act III 

Yet Brutus says he was ambitious; 

And, sure, he is an honorable man. 

I speak not to disprove what Brutus spoke, 

But here I am to speak what I do know. 

You all did love him once, not without cause; 

What cause withholds you, then, to mourn for him? 

judgment, thou art fled to brutish beasts, 
And men have lost their reason. Bear with me; 
My heart is in the coffin there with Caesar, 

110 And I must pause till it come back to me. 

1 Cit. Methinks there is much reason in his 
sayings. 

2 Cit. If thou consider rightly of the matter, 
Caesar has had great wrong. 

3 Cit. Has he, masters? 

1 fear there will a worse come in his place. 

4 Cit. Marked ye his words? He would not 
take the crown; 

Therefore, 'tis certain he was not ambitious. 

1 Cit. If it be found so, some will dear abide it. 

2 Cit. Poor soul! his eyes are red as fire with 
weeping. 

3 Cit. There's not a nobler man in Rome than 
Antony. 

120 4 Cit. Now mark him, he begins again to speak. 
Ant. But yesterday the word of Caesar might 
Have stood against the world: now lies he there, 
And none so poor to do him reverence. 

masters, if I were disposed to stir 

Your hearts and minds to mutiny and rage, 

1 should do Brutus wrong, and Cassius wrong, 
Who, you all know, are honorable men: 



Scene 2] JULIUS CESAR 61 

I will not do them wrong; I rather choose 

To wrong the dead, to wrong myself and you, 

Than I will wrong such honorable men. 130 

But here's a parchment with the seal of Caesar; 

I found it in his closet; 'tis his will: 

Let but the commons hear this testament — 

Which, pardon me, I do not mean to read — 

And they would go and kiss dead Caesar's wounds, 

And dip their napkins in his sacred blood; 

Yea, beg a hair of him for memory, 

And, dying, mention it within their wills, 

Bequeathing it, as a rich legacy, 

Unto their issue. 140 

4 Cit. We'll hear the will : read it, Mark Antony. 

Citizens. The will, the will! we will hear Caesar's 
will. 

Ant. Have patience, gentle friends, I must not 
read it; 
It is not meet you know how Caesar loved you. 
You are not wood, you are not stones, but men; 
And, being men, hearing the will of Caesar 
It will inflame you, it will make you mad. 
'Tis good you know not that you are his heirs; 
For if you should, O, what would come of it ! 

4 Cit. Read the will; we'll hear it, Antony; 150 

You shall read us the will, Caesar's will. 

Ant. Will you be patient? will you stay awhile? 
I have o'ershot myself to tell you of it. 
I fear I wrong the honorable men 
Whose daggers have stabbed Caesar: I do fear it. 

-4 Cit. They were traitors : honorable men ! 

Citizens. The will! the testament! 



62 JULIUS C^SAR [Act III 

2 Cit. They were villains, murderers: the will! 

read the will! 
Ant. You will compel me then to read the will? 
160 Then make a ring about the corpse of Caesar, 
And let me show you him that made the will. 
Shall I descend? And will you give me leave? 
Citizens. Come down. 

2 Cit. Descend. [He comes down. 

3 Cit. You shall have leave. 

4 Cit. A ring; stand round. 

1 Cit. Stand from the hearse, stand from the 
body. 

2 Cit. Room for Antony — most noble Antony ! 
Ant. Nay, press not so upon me; stand far off. 

170 Citizens. Stand back! Room! Bear back! 

Ant. If you have tears, prepare to shed them now. 
You all do know this mantle: I remember 
The first time ever Caesar put it on; 
'Twas on a summer's evening, in his tent, 
That day he overcame the Nervii: 
Look! in this place ran Cassius' dagger through: 
See what a rent the envious Casca made: 
Through this the well-beloved Brutus stabbed; 
And as he plucked his cursed steel away, 
Mark how the blood of Caesar followed it, 

180 As rushing out of doors, to be resolved 
If Brutus so unkindly knocked, or no; 
For Brutus, as you know, was Caesar's angel: 
Judge, O you gods, how dearly Caesar loved him! 
This was the most unkindest cut of all: 
For when the noble Caesar saw him stab, 
Ingratitude, more strong than traitors' arms, 



Scene 2] JULIUS CAESAR 63 

Quite vanquished him: then burst his mighty heart; 

And, in his mantle muffling up his face, 

Even at the base of Pompey's statua, 190 

Which all the while ran blood, great Caesar fell. 

O, what a fall was there, my countrymen! 

Then I, and you, and all of us fell down, 

Whilst bloody treason flourished over us. 

O, now you weep; and I perceive you feel 

The dint of pity: these are gracious drops. 

Kind souls, what, weep you when you but behold 

Our Caesar's vesture wounded? Look you here, 

Here is himself, marred, as you see, with traitors. 

1 Cit. O piteous spectacle! 200 

2 Cit. O noble Caesar! 

3 Cit. O woeful day! 

4 Cit. O traitors, villains! 

1 Cit. O most bloody sight! 

2 Cit. We will be revenged. 

Citizens. Revenge! About! Seek! Burn! Fire! 
Kill! Slay! Let not a traitor live! 
Ant. Stay, countrymen. 

1 Cit. Peace there! hear the noble Antony. 

2 Cit. We'll hear him, we'll follow him, we'll die 
with him. 210 

Ant. Good friends, sweet friends, let me not stir 
you up 
To such a sudden flood of mutiny. 
They that have done this deed are honorable; 
What private griefs they have, alas, I know not, 
Th, t made them do it; they are wise and honorable, 
And will, no doubt, with reasons answer you. 
I come not, friends, to steal away your hearts; 



64 JULIUS C^SAR [Act III 

I am no orator, as Brutus is; 
But as you know me all, a plain, blunt man, 
220 That love my friend; and that they know full well 
That gave me public leave to speak of him. 
For I have neither wit, nor words, nor worth, 
Action, nor utterance, nor the power of speech, 
To stir men's blood: I only speak right on; 
I tell you that which you yourselves do know; 
Show you sweet Caesar's wounds, poor, poor dumb 

mouths, 
And bid them speak for me: but, were I Brutus, 
And Brutus Antony, there were an Antony 
Would ruffle up your spirits, and put a tongue 
230 In every wound of Caesar that should move 
The stones of Rome to rise and mutiny. 
Citizens. We'll mutiny! 
1 Cit. We'll burn the house of Brutus! 
3 Cit. Away, then; come, seek the conspirators! 
Ant. Yet hear me, countrymen; yet hear me 

speak. 
Citizens. Peace, ho! Hear Antony, most noble 

Antony ! 
Ant. Why, friends, you go to do you know not 
what. 
Wherein hath Caesar thus deserved your loves? 
Alas, you know not; I must tell you, then: 
240 You have forgot the will I told you of. 

Citizens. Most true; the will! let's stay, and 

hear the will. 
Ant. Here is the will, and under Caesar's seal. 
To every Roman citizen he gives, 
To every several man, seventy-five drachmas, 



Scene 2] JULIUS CESAR 65 

2 Cit. Most noble Caesar! we'll revenge his 
death. 

3 Cit. O royal Caesar! 

Ant. Hear me with patience. 

Citizens. Peace, ho! 

Ant. Moreover, he hath left you all his walks, 
His private arbors, and new-planted orchards, 250 

On this side Tiber; he hath left them you, 
And to your heirs for ever; common pleasures, 
To walk abroad, and recreate yourselves. 
Here was a Caesar! When comes such another? 

1 Cit. Never, never! Come, away, away! 
We'll burn his body in the holy place, 

And with the brands fire the traitors' houses. 
Take up the body. 

2 Cit. Go, fetch fire. 

3 Cit. Pluck down benches. 260 

4 Cit. Pluck down forms, windows, any thing. 

[Exeunt Citizens, with the body. 
Ant. Now let it work! Mischief, thou art afoot, 
Take thou what course thou wilt ! — 

[Enter a Servant 

How now, fellow? 

Serv. Sir, Octavius is already come to Rome. 

Ant. Where is he? 

Serv. He and Lepidus are at Caesar's house. 

Ant. And thither will I straight to visit him. 
He comes upon a wish. Fortune is merry, 
And in this mood will give us any thing. 

Serv. I heard him say, Brutus and Cassius 270 

Are rid like madmen through the gates of Rome. 



66 JULIUS C.ESAR [Act III 

Ant. Belike they had some notice of the people, 
How I had moved them. Bring me to Octavius. 

[Exeunt.] 
[Scene III] 

A street 

[Enter Cinna, the Poet 

Cin. I dreamt to-night that I did feast with 
Caesar, 
And things unlucky charge my fantasy: 
I have no will to wander forth of doors, 
Yet something leads me forth. 

Enter Citizens 

1 Cit. What is your name? 

2 Cit. Whither are you going? 

3 Cit. Where do you dwell? 

4 Cit. Are you a married man or a bachelor? 

2 Cit. Answer every man directly. 
10 1 Cit. Ay, and briefly. 

4 Cit. Ay, and wisely. 

3 Cit. Ay, and truly, you were best. 

Cin. What is my name? Whither am I going? 
Where do I dwell? Am I a married man or a bache- 
lor? Then, to answer every man directly and 
briefly, wisely and truly: wisely, I say, I am a 
bachelor. 

2 Cit. That's as much as to say, they are fools 
that marry: you'll bear me a bang for that, I fear. 
20 Proceed; directly. 

Cin. Directly, I am going to Caesar's funeral. 

1 Cit. As a friend or an enemy? 



Scene 3] JULIUS CiESAR 67 

Cin. As a friend. 

2 Cit. That matter is answered directly. 
4 Cit. For your dwelling, — briefly. 
Cin. Briefly, I dwell by the Capitol. 

3 Cit. Your name, sir, truly. 
Cin. Truly, my name is Cinna. 

1 Cit. Tear him to pieces; he's a conspirator. 

Cin. I am Cinna the poet, I am Cinna the poet. 30 

4 Cit. Tear him for his bad verses, tear him for 
his bad verses. 

Cin. I am not Cinna the conspirator. 

2 Cit. It is no matter, his name's Cinna; pluck 
but his name out of his heart, and turn him going. 

3 Cit. Tear him, tear him! Come, brands, ho! 
firebrands! To Brutus', to Cassius'; burn all. 
Some to Decius' house, and some to Casca's; some 
to Ligarius'; away, go! [Exeunt.] 



ACT IV 

[Scene I] 

[A house in Rome 

Antony, Octavius, and Lepidus, seated at a table 

Ant. These many then shall die; their names are 
pricked. 

Oct. Your brother too must die: consent you, 
Lepidus? 

Lep. I do consent — 

Oct. Prick him down, Antony. 

Lep. Upon condition Publius shall not live, 
Who is your sister's son, Mark Antony. 

Ant. He shall not live: look, with a spot I damn 
him. 
But, Lepidus, go you to Csesar's house; 
Fetch the will hither, and we shall determine 
How to cut off some charge in legacies. 
10 Lep. What, shall I find you here? 

Oct. Or here or at the Capitol. [Exit Lepidus. 

Ant. This is a slight, unmeritable man, 
Meet to be sent on errands : is it fit, 
The three-fold world divided, he should stand 
One of the three to share it? 

Oct. So you thought him; 

And took his voice who should be pricked to die, 
In our black sentence and proscription. 



Scene 1] JULIUS C.ESAR 69 

Ant. Octavius, I have seen more days than you: 
And though we lay these honors on this man, 
To ease ourselves of divers slanderous loads, 20 

He shall but bear them as the ass bears gold, 
To groan and sweat under the business, 
Either led or driven, as we point the way; 
And having brought our treasure where we will, 
Then take we down his load, and turn him off, 
Like to the empty ass, to shake his ears 
And graze in commons. 

Oct. You may do your will ; 

But he's a tried and valiant soldier. 

Ant. So is my horse, Octavius; and for that 
I do appoint him store of provender. 30 

It is a creature that I teach to fight, 
To wind, to stop, to run directly on, 
His corporal motion governed by my spirit. 
And, in some taste, is Lepidus but so; 
He must be taught and trained and bid go forth; 
A barren-spirited fellow; one that feeds 
On objects, arts and imitations, 
Which, out of use and staled by other men, 
Begin his fashion: do not talk of him 
But as a property. And now, Octavius, 40 

Listen great things. Brutus and Gassius 
Are levying powers: we must straight make head: 
Therefore let our alliance be combined, 
Our best friends made, our means stretched; 
And let us presently go sit in council, 
How covert matters may be best disclosed, 
And open perils surest answered. 

Oct. Let us do sb: for we are at the stake, 



70 JULIUS CAESAR [Act IV 

And bayed about with many enemies; 
50 And some that smile have in their hearts, I fear, 
Millions of mischiefs. [Exeunt.] 

[Scene II] 
Before Brutus' tent, in the camp near Sardis 

Drum. Enter Brutus, Lucilius, Lucius, and Sol- 
diers: Titinius and Pindarus meeting them 

Bru. Stand, ho! 

Lucil. Give the word, ho! and stand. 

Bru. What now, Lucilius! is Cassius near? 

Lucil. He is at hand; and Pindarus is come 
To do you salutation from his master. 

[Pindarus gives a letter to Brutus. 

Bru. He greets me well. _ Your master, Pindarus, 
In his own change, or by ill officers, 
Hath given me some worthy cause to wish 
Things done undone : but if he be at hand, 
I shall be satisfied. 
10 Pin. I do not doubt 

But that my noble master will appear 
Such as he is, full of regard and honor. 

Bru. He is not doubted. A word, Lucilius; 
How he received you, let me be resolved. 

Lucil. With courtesy, and with respect enough; 
But not with such familiar instances, 
Nor with such free and friendlv conference, 
As he hath used of old. 

Bru. Thou hast described 

A hot friend cooling: ever note, Lucilius, 
20 When love begins to sicken and decay, 



Scene 2] JULIUS CESAR 71 

It useth an enforced ceremony. 
There are no tricks in plain and simple faith: 
But hollow men, like horses hot at hand, 
Make gallant show and promise of their mettle: 
But when they should endure the bloody spur, 
They fall their crests, and like deceitful jades, 
Sink in the trial. Comes his army on? 

Lucil. They mean this night in Sardis to be quar- 
tered; 
The greater part, the horse in general, 
Are come with Cassius. [March within. 

Bru. Hark, he is arrived: 30 

[March gently on to meet him. 

Enter Cassius and Soldiers 

Cas. Stand, ho! 

Bru. Stand, ho! Speak the word along. 

1 Sol. Stand! 

2 Sol. Stand! 

3 Sol. Stand!] 

Cas. Most noble brother, you have done me wrong. 

Bru. Judge me, you gods ! Wrong I mine enemies? 
And, if not so, how should I wrong a brother? 

Cas. Brutus, this sober form of yours hides wrongs; 40 
And when you do them — 

Bru. . Cassius, be content; 

Speak your griefs softly : I do know you well. 
Before the eyes of both our armies here, 
Which should perceive nothing but love from us, 
Let us not wrangle: bid them move away; 
Then in my tent, Cassius, enlarge your griefs, 
And I will give you audience. 



72 JULIUS CESAR [Act IV 

Cas. Pindarus, 

Bid our commanders lead their charges off 
A little from this ground. 
50 Bru. Lucius, do you the like; and let no man 
Come to our tent, till we have done our conference. 
Lucilius and Titinius, guard our door. [Exeunt. 

[Scene III] 

Within the tent of Brutus 

Enter Brutus and Cassius 

Cas. That you have wronged me doth appear in 
this: 
You have condemned and noted Lucius Pella 
For taking bribes here of the Sardians; 
Wherein my letters, praying on his side, 
Because I knew the man, were slighted off. 

Bru. You wronged yourself to write in such a case. 

Cas. In such a time as this, it is not meet 
That every nice offence should bear his comment. 

Bru. Let me tell you, Cassius, you yourself 
10 Are much condemned to have an itching palm, 
To sell and mart your offices for gold 
To undeservers. 

Cas. I an itching palm? 

You know that you are Brutus that speak this, 
Or, by the gods, this speech were else your last. 

Bru. The name of Cassius honors this corruption, 
And chastisement doth therefore hide his head. 

Cas. Chastisement! 

Bru. Remember March, the ides of March re- 
member ! 



Scene 3] JULIUS CiESAR 73 

Did not great Julius bleed for justice' sake? 

What villain touched his body, that did stab, 20 

And not for justice? What, shall one of us, 

That struck the foremost man of all this world 

But for supporting robbers, — shall we now 

Contaminate our fingers with base bribes, 

And sell the mighty space of our large honors 

For so much trash as may be grasped thus? 

I had rather be a dog, and bay the moon, 

Than such a Roman. 

Cas. Brutus, bay not me; 

I'll not endure it : you forget yourself, 30 

To hedge me in; I am a soldier, ay, 
Older in practice, abler than yourself 
To make conditions. 

Bru. Go to; you are not, Cassius. 

Cas. I am. 

Bru. I say you are not. 

Cas. Urge me no more, I shall forget myself; 
Have mind upon your health, tempt me no further. 

Bru. Away, slight man! 

Cas. Is't possible? 

Bru. Hear me, for I will speak. 

Must I give way and room to your rash choler? 
Shall I be frighted when a madman stares? 40 

Cas. O ye gods! ye gods! Must I endure all this? 

Bru. All this? ay, more: fret till your proud heart 
break; 
Go show your slaves how choleric you are, 
And make your bondmen tremble. Must I budge? 
Must I observe you? Must I stand and crouch 
Under your testy humor? By the gods, 



74 JULIUS C^SAR [Act IV 

You shall digest the venom of your spleen, 
Though it do split you; for, from this day forth, 
I'll use you for my mirth, yea, for my laughter, 
50 When you are waspish. 

Cas. Is it come to this? 

Bru. You say you are a better soldier: 
Let it appear so; make your vaunting true, 
And it shall please me well: for mine own part, 
I shall be glad to learn of noble men. 

Cas. You wrong me every way; you wrong me, 
Brutus; 
I said an elder soldier, not a better: 
Did I say, better? 

Bru. If you did, I care not. 

Cas. When Caesar lived, he durst not thus have 
moved me. 

Bru. Peace, peace! you durst not so have tempted 
him. 
60 Cas. I durst not? 

Bru. No. 

Cas. What, durst not tempt him? 

Bru. For your life you durst not. 

Cas. Do not presume too much upon my love; 
I may do that I shall be sorry for. 

Bru. You have done that you should be sorry for. 
There is no terror, Cassius, in your threats: 
For I am armed so strong in honesty 
That they pass by me as the idle wind, 
Which I respect not. I did send to you 
70 For certain sums of gold, which you denied me, 
For I can raise no money by vile means: 
By heaven, I had rather coin my heart, 



Scene 3] JULIUS CiESAR 75 

And drop my blood for drachmas, than to wring 

From the hard hands of peasants their vile trash 

By any indirection. I did send 

To you for gold to pay my legions, 

Which you denied me: was that done like Cassius? 

Should I have answered Caius Cassius so? 

When Marcus Brutus grows so covetous, 

To lock such rascal counters from his friends, 80 

Be ready, gods, with all your thunderbolts, 

Dash him to pieces ! 

Cas. I denied you not. 

Bru. You did. 

Cas. I did not; he was but a fool 

That brought my answer back. Brutus hath rived 

my heart: 
A friend should bear his friend's infirmities, 
But Brutus makes mine greater than they are. 

Bru. I do not, till you practice them on me. 

Cas. You love me not. 

Bru. I do not like your faults. 

Cas. A friendly eye could never see such faults. 

Bru. A flatterer's would not, though they do ap- 
pear 90 
As huge as high Olympus. 

Cas. Come, Antony, and young Octavius, come, 
Revenge yourselves alone on Cassius, 
For Cassius is a- weary of the world: 
Hated by one he loves; braved by his brother; 
Checked like a bondman; all his faults observed, 
Set in a note-book, learned and conned by rote, 
To cast into my teeth. O, I could weep 
My spirit from mine eyes ! There is my dagger 



76 JULIUS CJESAR [Act IV 

100 And here my naked breast; within, a heart 
Dearer than Plutus' mine, richer than gold: 
If that thou be'st a Roman, take it forth; 
I, that denied thee gold, will give my heart: 
Strike as thou didst at Caesar; for I know, 
When thou didst hate him worst, thou lovedst him 

better 
Than ever thou lovedst Cassius. 

Bru. Sheathe your dagger: 

Be angry when you will, it shall have scope; 
Do what you will, dishonor shall be humor. 
O Cassius, you are yoked with a lamb, 
110 That carries anger as the flint bears fire; 
Who, much enforced, shows a hasty spark, 
And straight is cold again. 

Cas. Hath Cassius lived 

To be but mirth and laughter to his Brutus, 
When grief and blood ill-tempered vexeth him? 

Bru. When I spoke that, I was ill-tempered too. 

Cas. Do you confess so much? Give me your 
hand. 

Bru. And my heart too. 

Cas. O Brutus! 

Bru. What's the matter? 

Cas. Have you not love enough to bear with me, 
When that rash humor which my mother gave me 
Makes me forgetful? 
120 Bru. Yes, Cassius, and from henceforth, 

When you are over-earnest with your Brutus, 
He'll think your mother chides, and leave you so. 

[Noise within. 

[Poet. [Within.] Let me go in to see the generals; 



Scene 3] JULIUS CAESAR 77 

There is some grudge between 'em; 'tis not meet 
They be alone. 

Lucil. [Within.] You shall not come to them. 

Poet. [Within.] Nothing but death shall stay me. 

Enter Poet, followed by Lucilius, Titinius, and 
Lucius 

Cas. How now! What's the matter? 

Poet. For shame, you generals: what do you 
mean? 
Love and be friends, as two such men should be; 130 
For I have seen more years, I'm sure, than ye. 

Cas. Ha, ha! how vilely doth this cynic rhyme! 

Bru. Get you hence, sirrah; saucy fellow, hence! 

Cas. Bear with him, Brutus; 'tis his fashion. 

Bru. I'll know his humor, when he knows his 
time: 
What should the wars do with these jigging fools? 
Companion, hence! 

Cas. Away, away, be gone ! [Exit Poet. 

Bru. Lucilius and Titinius, bid the commanders 
Prepare to lodge their companies to-night. 

Cas. And come yourselves, and bring Messala 
with you, 140 

Immediately to us. [Exeunt Lucilius and Titinius.] 

Bru. Lucius, a bowl of wine. [Exit Lucius. 

Cas. I did not think you could have been so angry. 

Bru. O Cassius, I am sick of many griefs. 

Cas. Of your philosophy you make no use, 
If you give place to accidental evils. 

Bru. No man bears sorrow better: — Portia is 
dead, 



78 JULIUS C^SAR [Act IV 

Cas. Ha! Portia! 
Bru. She is dead. 
150 Cas. How 'scaped I killing when I crossed you 
so? — 

insupportable and touching loss ! — 
Upon what sickness? 

Bru. Impatient of my absence, 

And grief that young Octavius with Mark Antony 
Have made themselves so strong; — for with her 

death 
That tidings came; — with this she fell distract 
And, her attendants absent, swallowed fire. 

Cas. And died so? 

Bru. Even so. 

Cas. O ye immortal Gods! 

Enter Lucius, with wine and tapers 

Bru. Speak no more of her. — Give me a bowl of 
wine : — 
160 In this I bury all unkindness, Cassius. [Drinks. 
Cas. My heart is thirsty for that noble pledge. 
Fill, Lucius, till the wine o'erswell the cup; 

1 cannot drink too much of Brutus' love. [Drinks. 

Enter Titinius and Messala 

Bru. Come in, Titinius. — Welcome, good Mes- 
sala. — 
Now sit we close about this taper here, 
And call in question our necessities. 

Cas. Portia, art thou gone? 

Bru. No more, I pray you. 

Messala, I have here received letters, 



Scene 3] JULIUS C^SAR 79 

That young Octavius and Mark Antony 

Come down upon us with a mighty power, 170 

Bending their expedition toward Philippi. 

Mes. Myself have letters of the self-same tenor. 

Brn. With what addition? 

Mes. That by proscription, and bills of out- 
lawry, 
Octavius, Antony, and Lepidus 
Have put to death an hundred senators. 

Bru. Therein our letters do not well agree; 
Mine speak of seventy senators that died 
By their proscriptions, Cicero being one. 

Cas. Cicero one? 

Mes. Cicero is dead, 180 

And by that order of proscription. — 
Had you your letters from your wife, my lord? 

Bru. No, Messala. 

Mes. Nor nothing in your letters writ of her? 

Bru. Nothing, Messala. 

Mes. That, methinks, is strange. 

Bru. Why ask you? Hear you aught of her in 
yours? 

Mes. No, my lord. 

Bru. Now, as you are a Roman, tell me true. 

Mes. Then like a Roman bear the truth I tell: 
For certain she is dead, and by strange manner. 190 

Bru. Why, farewell, Portia. — We must die, Mes- 
sala: 
With meditating that she must die once, 
I have the patience to endure it now. 

Mes. Even so great men great losses should 
endure. 



80 JULIUS CAESAR [Act IV 

Cas. I have as much of this in art as you, 
But yet my nature could not bear it so. 

Bru. Well, to our work alive. What do you think 
Of inarching to Philippi presently? 

Cas. I do not think it good. 

Bru. Your reason? 

Cas. This it is: 

200 Tis better that the enemy seek us : 

So shall he waste his means, weary his soldiers, 
Doing himself offence; whilst we, lying still, 
Are full of rest, defence, and nimbleness. 

Bru. Good reasons must, of force, give place to 
better. 
The people 'twixt Philippi and this ground 
Do stand but in a forced affection, 
For they have grudged us contribution: 
The enemy, marching along by them, 
By them shall make a fuller number up, 
210 Come on refreshed, new-added, and encouraged; 
From which advantage shall we cut him off, 
If at Philippi we do face him there, 
These people at our back. 

Cas. Hear me, good brother. 

Bru. Under your pardon. — You must note be- 
side, 
That we have tried the utmost of our friends, 
Our legions are brim-full, our cause is ripe: 
The enemy increaseth every day; 
We, at the height, are ready to decline. 
^ There is a tide in the affairs of men 
220 Which, taken at the flood, leads on to fortune; 
Omitted, all the voyage of their life 



Scene 3] JULIUS CESAR 81 

Is bound in shallows and in miseries. 

On such a full sea are we now afloat, 

And we must take the current when it serves, 

Or lose our ventures. 

Cas. Then, with your will, go on: 

We will along ourselves, and meet them at Philippi. 

Bru. The deep of night is crept upon our talk, 
And nature must obey necessity; 
Which we will niggard with a little rest. 
There is no more to say? 

Cas. No more. Good night; 230 

Early to-morrow will we rise and hence. 

Bru. Lucius, my gown. Farewell, good Messala; — 

[Exit Lucius. 
Good night, Titinius. — Noble, noble Cassius, 
Good night, and good repose. 

Cas. O my dear brother! 

This was an ill beginning of the night : 
Never come such division 'tween our souls! 
Let it not, Brutus. 

Bru. Everything is well. 

Cas. Good night, my lord. 

Bru. Good night, good brother. 

Tit., Mes. Good night, lord Brutus. 

Bru. Farewell, every one. 

[Exeunt Cassius, Titinius, and Messala. 

Enter Lucius, with the gown 

Give me the gown. Where is thy instrument? 240 

Luc. Here in the tent. 

Bru. What? thou speak'st drowsily: 

Poor knave, I blame thee not; thou art o'erwatched. 



82 JULIUS C^SAR [Act IV 

[Call Claudius and some other of my men: 
I'll have them sleep on cushions in my tent. 
Luc. Varro, and Claudius! 

Enter Varro and Claudius 

Var. Calls my lord? 

Bru. I pray you, sirs, lie in my tent and sleep; 
It may be I shall raise you by and by 
On business to my brother Cassius. 

Var. So please you, we will stand and watch 
250 your pleasure. 

Bru. I will not have it so: lie down, good sirs; 
It may be I shall otherwise bethink me. 
Look, Lucius, here's the book I sought for so; 
I put it in the pocket of my gown. 

[Var. and Claud, lie down. 

Luc. I was sure your lordship did not give it me. 

Bru. Bear with me, good boy, I am much forgetful.] 
Canst thou hold up thy heavy eyes awhile, 
And touch thy instrument a strain or two? 

Luc. Ay, my lord, an't please you. 

Bru. It does, my boy: 

260 1 trouble thee too much, but thou art willing. 

Luc. It is my duty, sir. 

Bru. I should not urge thy duty past thy might: 
I know young bloods look for a time of rest. 

[Luc. I have slept, my lord, already. 

Bru. It was well done; and thou shalt sleep again; 
I will not hold thee long:] if I do live, 
I will be good to thee. [Music and a Song. 

This is a sleepy tune: O murderous slumber, 
Lay'st thou thy leaden mace upon my boy, 



Scene 3] JULIUS CiESAR 83 

That plays thee music? Gentle knave, good night; 270 
I will not do thee so much wrong to wake thee. 
If thou dost nod, thou break'st thy instrument; 
I'll take it from thee; and, good boy, good 

night. 
Let me see, let me see; is not the leaf turned down 
Where I left reading? Here it is, I think. 

[He sits down. 

Enter the Ghost of Caesar 

How ill this taper burns! Ha! who comes here? 

I think it is the weakness of mine eyes 

That shapes this monstrous apparition. 

It comes upon me! Art thou any thing? 

Art thou some god, some angel, or some devil, 280 

That mak'st my blood cold, and my hair to stare? 

Speak to me what thou art. 

Ghost. Thy evil spirit, Brutus. 

Bru. Why comes t thou? 

Ghost. To tell thee thou shalt see me at Philippi. 

Bru. Well: then I shall see thee again? 

Ghost. Ay, at Philippi. 

Bru. Why, I will see thee at Philippi, then. — 

[Ghost vanishes. 
Now I have taken heart thou vanishest: 
111 spirit, I would hold more talk with thee. — 
Boy! Lucius! Varro! Claudius! Sirs, awake! 
[Claudius ! 290 

Luc. The strings, my lord, are false. 

Bru. He thinks he still is at his instrument. 
Lucius, awake!] 

Luc. My lord? 



84 JULIUS C^SAR [Act IV 

Bru. [Didst thou dream, Lucius, that thou so 
criedst out? 

Luc. My lord, I do not know that I did cry. 

Bru. Yes, that thou didst:] didst thou see any 
thing ? 

Luc. Nothing, my lord. 

Bru. Sleep again, Lucius. Sirrah, Claudius! 

[To Varro. 
300 Fellow thou! awake! 

Var. My lord? 

Clau. My lord? 

Bru. Why did you so cry out, sirs, in your sleep? 

Var., Clau. Did we, my lord? 

Bru. Ay; saw you any thing? 

Var. No, my lord, I saw nothing. 

Clau. Nor I, my lord. 

Bru. Go and commend me to my brother Cassius; 
Bid him set on his powers betimes before, 
And we will follow. 

Var., Clau. It shall be done, my lord. 

[Exeunt. 



ACT V 

[Scene I] 

The plains of Philippi 

Enter Octavius, Antony, and their Army 

Oct. Now, Antony, our hopes are answered: 
You said the enemy would not come down, 
But keep the hill and upper regions. 
It proves not so: their battles are at hand; 
They mean to warn us at Philippi here, 
Answering before we do demand of them. 

Ant. Tut, I am in their bosoms, and I know 
Wherefore they do it: they could be content 
To visit other places; and come down 
With fearful bravery, thinking by this face 10 

To fasten in our thoughts that they have courage; 
But 'tis not so. 

Enter a Messenger 

Mess. Prepare you, generals : 

The enemy comes on in gallant show; 
Their bloody sign of battle is hung out, 
And something to be done immediately. 

Ant. Octavius, lead your battle softly on, 
Upon the left hand of the even field. 

Oct. Upon the right hand I; keep thou the left. 

Ant. Why do you cross me in this exigent? 

Oct. I do not cross you; but I will do so. [March. 20 



86 JULIUS C^SAR [Act V 

Drum. Enter Brutus, Cassius, and their Army ; 
Lucilius, Titinius, Messala, and others 

Bru. They stand, and would have parley. 

[Cas. Stand fast, Titinius: we must out and talk. 

Oct. Mark Antony, shall we give sign of battle? 

Ant. No, Caesar, we will answer on their charge. 
Make forth; the generals would have some words. 

Oct. Stir not until the signal. 

Bru.] Words before blows: is it so, countrymen? 

Oct. Not that we love words better, as you do. 

Bru. Good words are better than bad strokes, 
Octavius. 

Ant. In your bad strokes, Brutus, you give good 
30 words : 

Witness the hole you made in Caesar's heart, 
Crying "Long live! Hail, Caesar! " 

Cas. Antony, 

The posture of your blows are yet unknown; 
But for your words, they rob the Hybla bees 
And leave them honey less. 

Ant. Not stingless too. 

Bru. O, yes, and soundless too; 
For you have stolen their buzzing, Antony, 
And, very wisely, threat before you sting. 

Ant. Villains, you did not so, when your vile 
daggers 
40 Hacked one another in the sides of Caesar: 

You showed your teeth like apes, and fawned like 

hounds, 
And bowed like bondmen, kissing Caesar's feet; 
Whilst damned Casca, like a cur, behind 



Scene 1] JULIUS C^SAR 87 

Struck Caesar on the neck. O you flatterers^. 

Cas. Flatterers! Now, Brutus, thank yourself: 
This tongue had not offended so to-day, 
If Cassius might have ruled. 

Oct. Come, come, the cause: if arguing make us 
sweat, 
The proof of it will turn to redder drops. 
Look, — I draw a sword against conspirators : 50 

When think you that the sword goes up again? — 
Never, till Caesar's three and thirty wounds 
Be well avenged; or till another Caesar 
Have added slaughter to the sword of traitors. 

Bru. Caesar, thou canst not die by traitors' hands, 
Unless thou bring'st them with thee. 

Oct. So I hope; 

I was not born to die on Brutus' sword. 

Bru. O, if thou wert the noblest of thy strain, 
Young man, thou couldst not die more honorable. 

Cas. A peevish school-boy, worthless of such honor, 60 
Joined with a masker and a reveller! 

Ant. Old Cassius still! 

Oct. Come, Antony; away! — 

Defiance, traitors, hurl we in your teeth: 
If you dare fight to-day, come to the field; 
If not, when you have stomachs. 

[Exeunt Octavius, Antony, and their Army. 

Cas. Why now, blow wind, swell billow, and 
swim bark! 
The storm is up, and all is on the hazard. 

[Bru. Ho, Lucilius! hark, a word with you. 

Lucil. My lord. 

[Brutus and Lucilius converse apart. 



88 JULIUS CESAR [Act V 

Cas. Messala, — 

Mes. What says my general? 

Cas. Messala, 

70 This is my birth-day; as this very day 

Was Cassius born. Give me thy hand, Messala: 
Be thou my witness that against my will, 
As Pompey was, am I compelled to set 
Upon one battle all our liberties. 
You know that I held Epicurus strong 
And his opinion: now I change my mind, 
And partly credit things that do presage. 
Coming from Sardis, on our former ensign 
Two mighty eagles fell; and there they perched, 
80 Gorging and feeding from our soldiers' hands; 
Who to Philippi here consorted us; 
This morning are they fled away and gone; 
And in their steads do ravens, crows, and kites 
Fly o'er our heads, and downward look on us, 
As we were sickly prey; their shadows seem 
A canopy most fatal, under which 
Our army lies, ready to give up the ghost. 

Mes. Believe not so. 

Cas. I but believe it partly; 

For I am fresh of spirit and resolved 
90 To meet all perils very constantly. 

Bru. Even so, Lucilius. 

Cas.] Now, most noble Brutus, 

The gods to-day stand friendly; that we may, 
Lovers in peace, lead on our days to age! 
But, since the affairs of men rest still incertain, 
Let's reason with the worst that may befall. 
If we do lose this battle, then is this 



Scene 1] JULIUS CESAR 89 

The very last time we shall speak together: 
What are you then determined to do? 

Bru. Even by the rule of that philosophy 
By which I did blame Cato for the death 100 

Which he did give himself: I know not how, 
But I do find it cowardly and vile, 
For fear of what might fall, so to prevent 
The time of life: arming myself with patience 
To stay the providence of some high powers 
That govern us below. 

Cas. Then, if we lose this battle. 

You are contented to be led in triumph 
Through the streets of Rome? 

Bru. No, Cassius, no: think not, thou noble 
Roman, 
That ever Brutus will go bound to Rome; 110 

He bears too great a mind. But this same day 
Must end that work the ides of March begun; 
And whether we shall meet again I know not. 
Therefore our everlasting farewell take. 
For ever and for ever farewell, Cassius ! 
If we do meet again, why, we shall smile; 
If not, why, then this parting was well made. 

Cas. For ever and for ever farewell, Brutus : 
If we do meet again, we'll smile indeed; 
If not, 'tis true this parting was well made. 120 

Bru. Why, then lead on. O, that a man might 
know 
The end of this day's business ere it come! 
But it sufficeth that the day will end, 
And then the end is known. Come, ho! away! 

[Exeunt 



90 JULIUS CAESAR [Act V 

[Scene II] 

The field of battle 

[Alarum. Enter Brutus and Messala 

Bru. Ride, ride, Messala, ride, and give these bills 
Unto the legions on the other side: [Loud alarum. 
Let them set on at once; for I perceive 
But cold demeanor in Octavius' wing, 
And sudden push gives them the overthrow. 
Ride, ride, Messala: let them all come down. 

[Exeunt.] 
[Scene III] 

Another part of the field 
Alarums. Enter Cassius and Titinius 

Cas. O, look, Titinius, look, the villains fly! 
Myself have to mine own turned enemy: 
This ensign here of mine was turning back; 
I slew the coward, and did take it from him. 

Tit. O Cassius, Brutus gave the word too early: 
Who, having some advantage on Octavius, 
Took it too eagerly; his soldiers fell to spoil, 
Whilst we by Antony are all enclosed. 

Enter Pindarus 

Pin. Fly further off, my lord, fly further off. 
10 Mark Antony is in your tents, my lord! 
Fly therefore, noble Cassius, fly far off. 

Cas. This hill is far enough. Look, look, Titinius; 
Are those my tents where I perceive the fire? 

Tit. They are, my lord. 



Scene 3] JULIUS C^SAR 91 

Cas. Titinius, if thou lovest me, 

Mount thou my horse and hide thy spurs in him, 
Till he have brought thee up to yonder troops 
And here again; that I may rest assured 
Whether yond troops are friend or enemy. 

Tit. I will be here again, even with a thought. 

[Exit. 

Cas. Go, Pindarus, get higher on that hill; 20 

My sight was ever thick; regard Titinius, 
And tell me what thou not'st about the field. — 

[Pindarus goes up. 
This day I breathed first: time is come round, 
And where I did begin, there shall I end; 
My life is run his compass. — Sirrah, what news? 

Pin. [Above.] O my lord! 

Cas. What news? 

Pin. Titinius is enclosed round about 
With horsemen, that make to him on the spur; 
Yet he spurs on. — Now they are almost on him; 30 
Now, Titinius ! — Now some light : O, he lights too : — 
He's ta'en; — [Shout] and hark! they shout for joy. 

Cas. Come down; behold no more. 
O, coward that I am, to live so long, 
To see my best friend ta'en before my face! 

Pindarus descends 

Come hither, sirrah: 
In Parthia did I take thee prisoner; 
And then I swore thee, saving of thy life, 
That whatsoever I did bid thee do 
Thou shouldst attempt it. Come now, keep thine 
oath; 40 



92 JULIUS C^SAR [Act V 

Now be a freeman; and, with this good sword, 
That ran through Caesar's bowels, search this bosom. 
Stand not to answer: here, take thou the hilts; 
And when my face is covered, as 'tis now, 
Guide thou the sword. Csesar, thou art revenged, 
Even with the sword that killed thee. [Dies. 

Pin. So, I am free; yet would not so have been, 
Durst I have done my will. O Cassius! 
Far from this country Pindarus shall run, 
50 Where never Roman shall take note of him. [Exit. 

Enter Titinius, with Messala 

Mes. It is but change, Titinius; for Octavius 
Is overthrown by noble Brutus' power, 
As Cassius' legions are by Antony. 

Tit. These tidings will well comfort Cassius. 

Mes. Where did you leave him? 

Tit. All disconsolate, 

With Pindarus his bondman, on this hill. 

Mes. Is not that he that lies upon the ground? 

Tit. He lies not like the living. O my heart! 

[Mes. Is not that he?] 

Tit. [No, this was he, Messala, 

60 But Cassius is no more. O setting sun ! 
As in thy red rays thou dost sink to night 
So in his red blood Cassius' day is set; 
The sun of Rome is set! Our day is gone; 
Clouds, dews, and dangers come; our deeds are 

done !] 
Mistrust of my success hath done this deed. 

[Mes. Mistrust of good success hath done this deed. 
>l O hateful Error, Melancholy's child! 



Scene 3] JULIUS CAESAR 93 

Why dost thou show to the apt thoughts of men 
The things that are not? O Error, soon conceived, 
Thou never com'st unto a happy birth, 70 

But kill'st the mother that engendered thee. 

Tit.] What, Pindarus! Where art thou, Pindarus? 

Mes. Seek him, Titinius: whilst I go to meet 
The noble Brutus, thrusting this report 
Into his ears: [I may say, thrusting it; 
For piercing steel and darts envenomed 
Shall be as welcome to the ears of Brutus 
As tidings of this sight.] 

Tit. Hie you, Messala, 

And I will seek for Pindarus the while. 

[Exit Messala. 
Why didst thou send me forth, brave Cassius? 80 
Did I not meet thy friends? and did not they 
Put on my brows this wreath of victory, 
And bid me give it thee? Didst thou not hear their 

shouts? 
Alas, thou hast misconstrued every thing. 
But hold thee, take this garland on thy brow; 
Thy Brutus bid me give it thee, and I 
Will do his bidding. Brutus, come apace, 
And see how I regarded Caius Cassius. 
By your leave, gods: this is a B Oman's part: 
Come, Cassius' sword, and find Titinius' heart. [Dies. 90 

Alarum. Enter Messala, with Brutus, young 
Cato, Strato, Volumnius, and Lucilius 

Bru. Where, where, Messala, doth his body lie? 
Mes. Lo, yonder; and Titinius mourning it. 
Bru. Titinius' face is upward. 



94 JULIUS CAESAR [Act V 

Cato. He is slain. 

Bru. O Julius Caesar, thou art mighty yet! 
Thy spirit walks abroad, and turns our swords 
In our own proper entrails. [Low alarums. 

Cato. Brave Titinius ! 

Look, whe'er he have not crowned dead Cassius! 

Bru. Are yet two Romans living such as these? 
The last of all the Romans, fare thee well! 
100 It is impossible that ever Rome 

Should breed thy fellow. Friends, I owe moe tears 
To this dead man than you shall see me pay. 
I shall find time, Cassius, I shall find time. 
Come, therefore, and to Thassos send his body; 
His funerals shall not be in our camp, 
Lest it discomfort us. Lucilius, come; 
And come, young Cato; let us to the field. 
[Labeo and Flavius, set our battles on:] 
'Tis three o'clock; and, Romans, yet ere night 
110 We shall try fortune in a second fight. [Exeunt. 

[Scene IV] 

Another part of the field 

Alarum. Enter, fighting, Soldiers of both armies; 
then Brutus, Cato, Lucilius, and others 

Bru. Yet, countrymen, O yet hold up your heads ! 

Cato. What bastard doth not? Who will go with 
me? 
I will proclaim my name about the field : — 
I am the son of Marcus Cato, ho! 
A foe to tyrants, and my country's friend; 



Scene 4] JULIUS C^SAR 95 

I am the son of Marcus Cato, ho! [Charges the 
enemy. 
Lucil. And I am Brutus, Marcus Brutus, I; 
Brutus, my country's friend; know me for Brutus. 

young and noble Cato, art thou down? 

Why, now thou diest as bravely as Titinius. 10 

And mayst be honored, being Cato's son. 

1 Sold. Yield, or thou diest. 

Lucil. Only I yield to die; 

There is so much that thou wilt kill me straight; 

[Offering money. 
Kill Brutus, and be honored in his death. 

1 Sold. We must not. — A noble prisoner! 

2 Sold. Room, ho! Tell Antony, Brutus is ta'en. 

1 Sold. I'll tell the news. Here comes the general. 

Enter Antony 

Brutus is ta'en, Brutus is ta'en, my lord. 
Ant. Where is he? 
Lucil. Safe, Antony; Brutus is safe enough; 20 

1 dare assure thee that no enemy 
Shall ever take alive the noble Brutus: 

The gods defend him from so great a shame! 
When you do find him, or alive or dead, 
He will be found like Brutus, like himself. 

Ant. This is not Brutus, friend; but, I assure you, 
A prize no less in worth : keep this man safe, 
Give him all kindness : I had rather have 
Such men my friends than enemies. Go on, 
And see whe'er Brutus be alive or dead, 30 

And bring us word unto Octavius' tent 
How everything is chanced. [Exeunt. 



96 JULIUS CiESAR [Act V 

[Scene V] 

Another part of the field 

Enter Brutus, Dardanius, Clitus, Strato, and 
Volumnius 

Bru. Come, poor remains of friends, rest on this 
rock. 

Cli. Statilius showed the torchlight, but, my lord, 
He came not back; he is or ta'en or slain. 

Bru. Sit thee down, Clitus: slaying is the word; 
It is a deed in fashion. Hark thee, Clitus. 

[Whispering. 

Cli. What, I, my lord? No, not for all the world. 

Bru. Peace then, no words. 

Cli. I'd rather kill myself. 

[Bru. Hark thee, Dardanius. [Whispers him. 

Bar. Shall I do such a deed? 

Cli. O Dardanius! 
10 Dar. O Clitus! 

Cli. What ill request did Brutus make to thee? 

Dar. To kill him, Clitus. Look, he meditates. 

Cli. Now is that noble vessel full of grief, 
That it runs over even at his eyes.] 

Bru. Come hither, good Volumnius, list a word. 

Vol. What says my lord? 

Bru. Why, this, Volumnius. 

The ghost of Caesar hath appeared to me 
Two several times by night: at Sardis once, 
And this last night, here in Philippi fields. 
I know my hour is come. 
20 Vol. Not so, my lord. 



Scene 5] JULIUS CiESAR 97 

Bru. Nay, I am sure it is, Volumnius. 
Thou see'st the world, Volumnius, how it goes; 
Our enemies have beat us to the pit : [Low alarums. 
It is more worthy to leap in ourselves 
Than tarry till they push us. Good Volumnius, 
Thou know'st that we two went to school together: 
Even for that our love of old, I prithee, 
Hold thou my sword-hilts, whilst I run on it. 

Vol. That's not an office for a friend, my lord. 

[Alarum still. 

Cli. Fly, fly, my lord; there is no tarrying here. 30 

Bru. Farewell to you; and you; and you, 
Volumnius. 
[Strato, thou hast been all this while asleep; 
Farewell to thee too, Strato.] Countrymen, 
My heart doth joy that yet, in all my life. 
I found no man but he was true to me. 
I shall have glory by this losing day, 
More than Octavius and Mark Antony 
By this vile conquest shall attain unto. 
[So, fare you well at once, for Brutus' tongue 
Hath almost ended his life's history: 40 

Night hangs upon my eyes: my bones would rest, 
That have but labored to attain this hour.] 

[Alarum. Cry within — "Fly, fly, fly! " 

Cli. Fly, my lord, fly! 

Bru. Hence; I will follow. 

[Exeunt Clitus, Dardanius, and Volumnius 

[I prithee, Strato, stay thou by thy lord: 

Thou art a fellow of a good respect; 

Thy life hath had some smatch of honor in it: 



98 JULIUS C^SAR [Act V 

Hold then my sword, and turn away thy face, 
While I do run upon it. Wilt thou, Strato? 

Stra. Give me your hand first: fare you well, my 
lord. 
50 Bru. Farewell, good Strato.] Caesar, now be still : 
V I kill'd not thee with half so good a will. 

[He runs on his sword, and dies. 

Alarum; retreat. Enter Octavius, Antony, Mes- 
sala, Lucilius, and the Army 

[Oct. What man is that? 

Mes. My master's man. Strato, where is thy 
master? 

Stra. Free from the bondage you are in, Messala; 
The conquerors can but make a fire of him; 
For Brutus only overcame himself, 
And no man else hath honor by his death,] 

Lucil. So Brutus should be found. — I thank thee, 
Brutus, 
That thou hast proved Lucilius' saying true. 

Oct. All that served Brutus, I will entertain 
60 them. 

[Fellow, wilt thou bestow thy time with me? 

Stra. Ay, if Messala will prefer me to you. 

Oct. Do so, good Messala. 

Mes. How died my master, Strato? 

Stra. I held the sword, and he did run on it. 

Mes. Octavius, then take him to follow thee, 
That did the latest service to my master.] 

Ant. This was the noblest Roman of them all: 
All the conspirators, save only he, 
Did that they did in envy of great Caesar; 



Scene 5] JULIUS C^SAR 99 

He only, in a general honest thought 70 

And common good to all, made one of them. 
His life was gentle; and the elements 
So mixed in him that nature might stand up, 
And say to all the world, "This was a man! " 
Oct. According to his virtue let us use him, 
With all respect and rites of burial. 
Within my tent his bones to-night shall lie, 
Most like a soldier, ordered honorably. 
So, call the field to rest: and let's away. 
To part the glories of this happy day. [Exeunt. 80 



TIME SCHEDULE OF THE PLAY 



Dramatic Time 

Day One, Act I, Sc. 1, 2 
Interval of one month 

Day Two, Act I, Sc. 3 



Day Three, Acts II, III 

Interval of twenty months 

Day Four, Act IV, Sc. 1 
Interval of one year 

Day Five, Act IV, Sc. 2, 3 
Interval (?) 

Day Six, Act V 



Historic Time 

Oct. B.C. 45 

Caesar's Triumph 

Feb. 15, b.c. 44 

Feast of Lupercal 

March 15, b.c. 44 

Assassination of Caesar 

May- June, b.c. 44 

Octavius arrives in Rome 

Nov. b.c. 43 

Triumvirs' Proscription 

Oct. b.c. 42 

First Battle of Philippi 

Oct. b.c. 42 

Second Battle of Philippi 



VERSE; PROSE; STRUCTURE OF 
THE PLAY 

The study of a Shaksperean play is not complete without some 
definite attention to the metrical structure of the lines. 

In the first place, the verse of these plays is the 5-stress iambic 
of serious English poetry, that is, a verse of ten syllables, with 
the accent or "stress" on the second, fourth, etc., as, 

w — \J — \J — KJ Z. w / 

Antonius, forget not in thy speed. 

But this is only the beginning. The line may be varied in numer- 
ous ways. The succession of accents may be altered, as, 

— \j \j — \j — \j / \j ' 
Lovers in peace, lead on our days to age, 

where the first foot is trochaic, or, 

w Z \j \J Z \J Z \y / w / \J 

But, since the affairs of men rests still uncertain, 

where the line has twelve syllables, two merging into one in pro- 
nunciation, and the last being unaccented, or "light." 
Not infrequently too a short line may be introduced, as, 

Z w w Z 
C se s a r, my lord, or 

Z. jL jL 

Let me work. 

Here the true effectiveness of the short line will be understood 
and expressed in a pause, if it is remembered that, in general, 
the complete, ten-syllable line has a fairly regular "time-length." 
In some lines this "time" will be almost entirely apportioned to 
the spoken syllables, while in others it will be distributed among 
spoken syllables and pauses. The reading of the pauses becomes 
therefore vitally important to the proper rendering of the rhythm. 



102 STRUCTURE OF THE PLAY 

Compare the following lines: 

w Z \J Z \j \j Z Z \j S 
And for Mark Antony, think not of him; 

w Z \j Z \j Z \j Z \j s 
For he can do no more than Caesar's arm 

\j Z \j Z \j Z 
When Caesar's head is off. 

w Z Z w . 
Yet I fear him 

\jZ-\j\jZ\jZ\j Z. \j Z \j 
For in the ingrafted love he bears to Caesar — 

The second of these lines may be called "regular;" it has within 
it no marked pauses, nor any at the end; the accented syllables 
are really long in "time," and of nearly equal length, as the un- 
accented are short. But in the first line the accented syllables 
are of very unequal length, as also are the unaccented. The 
"time" of the line must be filled out by the pauses after Antony 
and him. Nor can the "sense" of the line be made clear without 
such emphasis of pauses. So in the third line: an emphatic 
pause, marked by a period and change of speakers, falls after 
off. The last line has no marked pauses, but it fills the "verse- 
time" with twelve syllables of irregular length and emphasis. 

No feature of Shakspere's verse is more interesting or notable 
than his distribution of pauses in the lines, so effectively recon- 
ciling the rhythm of syllables with the rhythm of thought. Study 
the following verses: 



/ Z- \j Z. \j Z— \j kj \j Z- 
This was the noblest Roman of them all: | 



All the conspirators, | save only he, | 

\j Z \j Z \j Z \j \j Z Z \j 
Did that they did [ in envv of great Caesar; | 

Z Z \j \j \j Z \j \j Z \j z 

He only, | in a general honest thought | 



\J _1_ \J J— \j _ KJ — \J — 

And common good to all, | made one of them. 



STRUCTURE OF THE PLAY 103 

Observe that in the first line the emphatic pause comes at 
the end; in the second, one pause falls at the end of the third 
foot, another at the end; in the third line there is one punctu- 
ated pause — at the end; in the fourth line a pause falls in the 
second foot; in the fifth line, a pause after the third foot. By 
these means monotony is avoided, and the artificial measure of 
the verses, which still brings a slight pause at the end of a line, 
whether punctuated or not, is merged in the rhythm of the thought. 
As a consequence of this mastery of his verse we have in the 
great group of plays from Shakspere's mature life, to which Julius 
Ccesar belongs, a characteristic mingling of "end-stopt" lines (lines 
with distinct, punctuated pauses at the end), and "run-on" lines 
(lines with no punctuated pause at the end). 

It should be observed that the artificial rhythm of the verse 
is not to be lost in the thought rhythm, so that the verse will 
be read like prose. Rather, as is said above, there must be a 
merging of the two rhythms, so that, in reading, both are felt. 

PROSE 

It is not uncommon to find Shakspere's prose dismissed with 
a simple statement that it is used for vulgar, humorous, or com- 
monplace scenes. Nothing could be more erroneous. In this 
play he uses prose in three notable passages, each different from 
the others, and all worthy of study. 

In I, 1, the Cobbler and Marullus exchange sallies in prose. 
Here, besides its humorous turn, the prose serves as a matrix in 
which to set the flaming jewel of Marullus' eloquence. 

In I, 2, the prose serves to embody the "tardy form" with which 
Shakspere chose to endow Casca. It carries the burden of cyni- 
cism well. Cf. Casca's speeches in I, 3. 

In III, 2, Brutus' speech forms one of the most notable pieces 
of Shakspere's prose. Much conjecture has been expended upon 
the question of "where he got it." Certainly the style carries 
out the suggestion of Plutarch that "he (Brutus) counterfeited 
that brief compendious manner of speech of the Lacedaemonians." 
At any rate, it may be said that Shakspere had in the English 
of North's Plutarch a most excellent model of prose, if he chose 
to use it. 

STRUCTURE OF THE PLAY 

A play is "a portrayal of life by means of a mechanism so 
devised as to bring it home to a considerable number of people 



104 STRUCTURE OF THE PLAY 

assembled in a given place." (Archer, " Play-Making," p. 10) This 
"mechanism" for Shakspere was an arrangement of five acts. The 
first act presented in some form the exposition, or explanation 
of the general setting and situation with which the story should 
open, the introduction of the characters, and usually a summary 
of preceding events related to the action of the play. 

The second act presented the complication, that is, the de- 
velopment of the main action, and the introduction of the 
counter-action, thus setting before the audience the elements of 
the conflict to be carried on or the problem to be solved. 

The third act presented the players of the main action as reach- 
ing the height of their success and coming to a point where the 
players of the counter-action become too powerful for them: this 
point is the Crisis or Turning-Point. 

The fourth act presented the decline or fall of the fortunes of the 
players in the main action, and the corresponding ascendancy of the 
players of the counter-action. 

The fifth act presented the catastrophe, that is, the wreck of the 
fortunes of the main action players, sometimes involving the players 
of the counter-action in their downfall, sometimes leaving these 
successful. In comedy, however, where the idea of "wreck" seems 
inappropriate, this point in the play is often called the denouement 
or "untying." 

In order to bring a story within the limits of a dramatic per- 
formance it must be developed by means of a series of telling situa- 
tions, called crises, leading up to a main crisis or turning-point, and 
down from this point to the catastrophe. These crises, occurring 
at certain definite times and places, form the nuclei or centers for 
the various scenes into which the play is divided. These "scene" 
divisions, as we have them today, were not made by Shakspere but 
have been made by later editors. For the printed text they are 
practically agreed upon, but they are subject to great changes for 
presentation on the stage. (See App. II.) 



NOTES 

Act I, Scene 1 
Stage Direction (Booth), great tumult loithout. 

This street scene, with its motley crowd, as much English as 
Roman, its obvious word-play, and its vivid contrast between the 
tribunes and the populace, is today as useful as ever in catching 
the attention of the ordinary theater audience. The reader will 
find in the sound of its lines as well as in the picture it suggests a 
summary of the strength and weakness of Caesar's position on his 
return from Spain for the triumph of October, 45 B.C. A triumph 
over Roman blood alienated many of the best in Rome. 

Line 33 ff. p. 4. "He (Csesar) had won his triumph by excit- 
ing in the multitude, as Sulla had done before him, the most 
dangerous passion of his age, cupidity." Ferrero, "Greatness and 
Decline of Rome." II, p. 271. Cf. the "Will" that Antony reads. 

"Sumptuous festivals were given to celebrate his Spanish triumph, 
and in the huge popular banquets that accompanied them Caesar 
for the first time substituted in place of the usual Greek wines 
some of the new Italian vintages." Ferrero, II, p. 221. 

34. p. 4. In reading, note the hesitating, but gathering invec- 
tive. Here sounds the pride of Rome, conquest. Compare An- 
tony's review of Caesar's conquests. 

54. p. 5. Note here as elsewhere in the play the long pause 
necessary in the reading. The echo of Marullus' Roman sentiment 
must be allowed to fill out the line at this splendid climax. Com- 
pare this speech throughout with Antony's oration. 

65. p. 5. The line serves to clear the stage. The preceding 
line closes the scene in most modern presentations. Study the 
"stage picture" it provides. 

69. p. 5. Lupercal. With this line Shakspere bridges the gap 
of four months from October, 45 to February, 44. Cf. his care for 
such technical matters elsewhere in the play. See Appendix III, 
"The Lupercalia." 

70 ff . p. 5. These lines should furnish suggestion of the hollow- 
ness of Caesar's apparent supremacy. "He had neither the prestige 



106 NOTES 

to inspire one tenth of the terror or admiration of Sulla, nor an 
army on whose fidelity he could rely, nor a body of supporters 
united in their aims and ideals." Ferrero, II, p. 271. 

Scene 2 

Here the immediate telling of the great story of Caesar's Fall 
begins. Scenes 1 and 2 may well be presented as one continuous 
scene. 

Line 7. p. 6. See above on Lupercal. The kingship idea so 
hated by the Roman Republican appears here in Caesar's desire 
for a son and heir. This desire had led him to grant his name to 
a son of Cleopatra, for which he had been bitterly condemned. 

Observe how these broken lines serve only to focus attention on 
Caesar. His name, the fatal date, his studied attitudes are all 
mercilessly repeated. Careful reading emphasizes ominously the 
tardily moving line in which Brutus speaks (21). 

28 ff. p. 7. Shakspere here departs somewhat from his histori- 
cal authority. The coolness between Brutus and Cassius here is 
laid to a troubled melancholy of Brutus. Plutarch says Cassius 
was displeased because Caesar had preferred Brutus for office; but 
he implies that there may have been other reasons. 

38. p. 7. I would look ungently only upon myself as the cause 
of my troubled countenance. 

54. p. 8. What is the meaning of this long pause? 

60. p. 8. The Senate had decreed Caesar to be divus, worthy 
of divine honors. Note the irony in Cassius' words. 

63. p. 8. Dangers. Observe how many times in the play this 
word, with its adjective, dangerous, is repeated. Like "blood" in 
Macbeth, it is a key-word for this play. 

66. p. 8. Cassius ignores Brutus' speech. How does Cassius' 
own analysis of himself agree with what Caesar, Brutus, and An- 
tony say of him? Cf. Brutus' words, V, 3, 1. 99 ff. 

72. p. 8. laughter. (The Folio reading.) One whose words are 
not to be taken seriously. 

80. p. 9. King. See in II, 1, on Brutus and the kingship. 

83. p. 9. Note the deliberate calling attention to the long 
dialogue here, and observe how Cassius' next speech is lightened 
by stories. 

86. p. 9. Does "honor" here bear the same meaning as in 1. 
92? 

100. p. 9. This feat seems to have been a favorite with "lusty 
Romans." 



NOTES 107 

128. p. 10. Observe the tremendous change in pitch and quality 
of voice in the middle of this line. 

135. p. 11. Caesar had proposed gigantic plans for public works. 
Among other things he proposed to drain the Pontine marshes by 
changing the course of the Tiber, to cut up the Campus Martius 
into building sites, to raise a huge theater, to establish large libraries 
in all parts of Rome, to canal the Isthmus of Corinth, to lay out a 
road over the Apennines, and to build a great port at Ostia. For 
all these things, however, as well as to redeem other pledges, the 
funds were to come out of the conquest of Parthia, for which ex- 
pedition he needed the title of king. See Ferrero, II, p. 292. 

156. p. 11. Rome was pronounced by the Elizabethans like 
"room." Cf. in IV, 1. 

175. p. 12. Cassius sees the age already under a yoke (1. 60), 
but Brutus sees that all in the future. Cf., on Cassius' idea, the 
Latin phrase, "sub jugum." When Caesar was returning from 
Spain in the preceding year Brutus had met him in Cisalpine Gaul 
to find out if possible his purposes. He had been so well treated 
that all his suspicion, if he had any, was allayed, and he had written 
to Cicero that Caesar aimed only at the re-establishment of a Con- 
servative, aristocratic government. Ferrero, II, p. 290. 

Compare the various indications in the play that Brutus was 
slow to join the conspiracy. 

In reading, observe that Brutus' words are not so vivid, so full 
of emotion as those of Cassius. To read his speeches the voice 
maintains a rather narrow range of pitch, while Cassius' phrases 
spring from high to low, leaping like a flame of fire. 

190. p. 12. Two short lines center attention upon Caesar and 
Antony. 

203 ff. p. 13. Cf. the lines in M. of V., V, 1, 11. 83-5. 
"The man that hath no music in himself, 
Nor is not mov'd by concord of sweet sounds, 
Is fit for treasons, stratagems, and spoils." 

213. p. 13. This is an invention of Shakspere. Dramatically it 
is most effective; historically, as a symptom of the growing weak- 
ness of Caesar, it is accurate; and there is medical authority for 
the frequent connection of epilepsy and deafness. 

Furness, in the New Variorum, quotes from medical works to 
show that, "a temporary deafness was recognized in Shakspere's 
day as one of the effects of epileptic seizure." He has also the 
following, "It has appeared to me that the left side is the one 
most frequently affected." (E. H. Sieveking: On Epilepsy, p. 4, 
1858.) 



108 NOTES 

271. p. 15. Cf. the following: "One difficulty after another con- 
fronted him (Caesar), often created by his very impatience to over- 
come them, and the worry, the weariness, the disappointments of 
his never-ending labors dulled that keen and exquisite sense of 
what was real and practicable which had stood him in such good 
stead in past years. Sometimes he himself would say that he had 
lived long enough .... health growing steadily worse; the attacks 
of epilepsy from which he had never been entirely free were in- 
creasing in frequency and violence; body and soul were almost 
worn out. The striking bust of him in the Louvre, the work of a 
great unknown master, gives a wonderful representation of the last 
expiring effort of his prodigious vitality. The brow is furrowed 
with huge wrinkles, the lean and shapeless face bears the marks of 
intense physical suffering, and the expression is that of a man utterly 
exhausted. In truth he was tired out. Yet, as so often with tired 
men, he could not take the rest he needed." Ferrero. ... II, 
p. 291. 

280. p. 15. He spoke Greek. The New Variorum quotes Horn 
to the effect that these three words describe Cicero perfectly. 

285. p. 15. Greek to me. ... "I can't understand it." A com- 
mon Elizabethan phrase, a sort of stage "gag." 

286. p. 16. This line makes a useful connection with the first 
scene. The student will do well to observe how the dramatist thus 
ties together his scenes. 

289. p. 16. Execution. . . . Five syllables. 
305. p. 16. And so it is. How should this be read? Is Brutus 
thinking of Cassius? 

Scene 3 

In this scene Casca is used to create by his frightened speeches an 
atmosphere of terror. Cicero serves merely as interlocutor, just to 
introduce and lead Casca on. Plutarch supplied the details of these 
wonders. 

Line 55 ff. p. 19. In modern dramatic construction storms in 
the air are used to heighten the effect of stormy, passionate scenes. 
To Shakspere's audience such happenings as Casca describes meant 
more. These lines illustrate the fashion in which Shakspere takes 
from ancient Rome the elements that were like those of his own 
London rather than those features peculiar to the ancient world. 

65. p. 19. Read "Why" as an expletive. See Glossary, "cal- 
culate." 

96 ff. p. 20. Cf. Hamlet's soliloquy on suicide, III, 1., 1. 70, ff. 
"For who would bear the whips and scorns of time, 



NOTES 109 

The oppressor's wrong. . • . 

When he himself might his quietus make 

With a bare bodkin?" 

103 ff. p. 21. This is the climax of Cassius' right hearty girding at 
Caesar, — a figure illuminated for a moment by a fire of straw and 
offal. See Appendix II for interpretations of Cassius' character. 

120 ff. p. 21. Observe how our knowledge of Cassius' activity is 
enlarged. The extent of the conspiracy grows. Sixty (some say 
eighty) senators were in the plot. Plutarch tells vividly of their 
anxiety. 

124. p. 21. Honorable. Another of the key-words of the play. 

Cf. in Antony's speech. 

130. p. 21. A foreshadowing line, whetting the appetite of the 
audience. 

132. p. 22. by his gait. The conspirators must needs know each 
other by quick means. Cf. "Trebonius knows his time," III, 1, 
I. 25. Skillful dramatic indications that the plot is well laid. 

140 ff. p. 22. Here again Shakspere suggests skillfully the lapse 
of time. Close .connection with the next scene is established. 
Taking these lines together with several in II, 1, the stages in the 
passing of one night are clearly marked. At the same time, parallel 
with this change, the lapse of a month from February 15, the Feast 
of Lupercal, to March 15, the Ides, is indicated. 

152. p. 22. Pompey's Theatre. Here it was that the assassina- 
tion of Cassar actually took place. But in the play, perhaps out 
of deference to an old tradition of literature and the stage, Shak- 
spere makes the Capitol the focus of events. 



Act II, Scene 1 
Stage Direction (Booth), lightning; (Irving) thunder and lightning. 

Line 4. p. 24. Cf. the sleeplessness of Macbeth. 

Here again Plutarch supplied the details. 

•10. p. 24. Brutus sees but one way to prevent Caesar's grasping 
the kingship. To a Roman Republican the mere aiming at such a 
title would justify assassination; but to Shakspere and his con- 
temporaries the title would carry no evil suggestion apart from the 
character of the man. This may be a reason why in this place he 
modifies and adapts the real events and motives of his history, 
keeping the essential dramatic meaning but presenting it in a form 
intelligible to his audience. Cf. MacCallum, "The Roman Plays." 

24 ff. p. 25. Cf. these words with the conduct of Caesar and 



110 NOTES 

his words in "the Capitol" just before he is murdered. Observe 
how the play "echoes" and is technically unified. 

Cf. what Brutus says in the Quarrel Scene about the reasons for 
killing Caesar. See Appendix III for Caesar and Brutus. 

61 ff. p. 26. Cf. following from Macbeth: I, 3, 1. 139. 
"My thought whose murder yet is but fantastical 
Shakes so my single state of man ..." 

69. p. 26. Shakspere paints here and there the historic Brutus, 
but he suppresses much and for the most part gives us an ideal 
character, who interprets himself in his words, frequently in the 
manner of Hamlet, sometimes like Macbeth. 

101. p. 28. Observe how rapidly time is made to move in this 
scene. We are not allowed to forget the inevitable swing of the 
pendulum and stroke of the clock, even though there were no 
striking clocks in Rome. 

104. p. 28. Cf. Hamlet II, 2, 1. 296. "... this majestical roof 
fretted with golden fire." See Glossary. 

114. p. 28. face of men. . . . The very urgency in men's faces 
that might seem to demand relief from "this age's yoke." 

156 ff. p. 30. Mark Antony. . . . Following the technical 
principles of construction, here in Act II begins the rise of the 
"counteraction" (See Structure of Play, p. 104), the error is made 
that wrecks all the conspirators' plans. To what does the dramatist 
attribute this sparing of Antony? Bear in mind that, for the drama- 
tist's purpose, some such slip had to be made. In this case he found 
it ready to his hand in Plutarch's story of the murder. — Life of 
Brutus. 

166. p. 30. not butchers. But compare Antony's words III, 1, 
1. 256; 

"... that I am meek and gentle with these butchers." 

167. p. 30. Caesar's spirit. Does this phrase answer Cassius' 
questions I, 2, 1. 141 ff.? 

The reader should observe that from this point the "Spirit" of 
Csesar dominates the play and the players, as his name did in I, 2. 

185 ff. p. 31. It would be a wonder if the gay Antony should 
die even of grief for so good a friend as Caesar; rather we may 
expect him to laugh hereafter over the matter. 

The historic Antony had indeed given some ground for such a 
judgment as this. He had been for some time in the party of 
opposition to Caesar, and at the period presented in the play he 
had but recently been restored to favor. Though an ardent follower 
of Caesar he could hardly be taken seriously as a tried and faithful 
partisan. See App. II on character of Antony (Faversham) (Booth). 



NOTES 111 

209. p. 31. Let me work. In reading note the eloquent pause. 

226. p. 32. Skakspere never forgets the stage. It is as if he 
would remind his audience that after all "the play's the thing." 
Just a bit of the not infrequent tragedy of the actor's life creeps in 
here. 

262. p. 33. Elizabethan medicine. (See Glossary.) 

In this scene Shakspere seems to be idealizing and yet he keeps 
close to Plutarch. How far the home life of Brutus and Portia 
seems withdrawn from the stir of "the faction!" See App. II for 
interpretations. Cf. in App. Ill, Life of Brutus, the parting of 
Brutus and Portia. 

308. p. 35. Charactery. Cf. line 231, this scene. 

332. p. 36. Note how this otherwise negligible incident, that 
might seem to have been dragged into the play simply because it 
was suggested by Plutarch's story, emphasizes a blind admiration 
for Brutus. "Blind leader of the blind." 

Scene 2 
Stage Direction (Booth), omit thunder and lightning. 

Line 3 ff. p. 36. Foreshadowing lines. 

The scene is devoted to showing the vulnerable weakness and the 
gentlemanly temper of Caesar, contrasted with the brazen treachery 
of the conspirators. It would seem difficult to devise a means more 
effective than the "working" of Decius to bring the conspirators on 
the verge of success into a more "notable contempt." 

9. p. 37. An arbitrary word of command, backed by hysterics. 
Calpurnia, like her failing husband, is moved by little things. 
Would Portia have spoken so to Brutus? 

11. p. 37. See App. Ill for history. Cf. Antony's hint of the 
"day he overcame the Nervii." The historic facts are all in sup- 
port of this line. What makes it tragic is that the words fall from 
the lips of a man prematurely aged, upon whom burdens were in- 
creasing while his physical strength and character were daily break- 
ing. 

129. p. 41. Brutus must be thought of as swept along by a fatal 
current, else he becomes here merely contemptible. 

"A noble of ancient lineage, an enthusiastic student of art, 
literature, and philosophy, Brutus was one of those spoilt children 
of fortune who succeed in winning general admiration for achieve- 
ments they have not yet performed. . . . Endowed with sobriety 
and continence, an unusual degree of austerity in his private 
habits, and a high disdain for vulgar ambitions, he had gained 



112 NOTES 

a great reputation among his contemporaries." Ferrero. ... II, 
p. 288. 

Scene 3 

A little scene, negligible in present-day staging of the play; but 
consider the dramatic reason for it. It puts the audience in posses- 
sion of the one bit of knowledge that, if he had it, would save the 
victim from treachery. 

On such little things the action of the play must hinge. Because 
of his love for Decius, Caesar tells him that which opens the way 
for the traitor to "work"; because of his "honor" he fails to read 
the scroll of Artemidorus and so goes to his death. 

Scene 4 

Line 9. p. 43. Yet Portia succeeds in just this very thing. Cf. 
The Parting at Elea, App. III. 



Act III, Scene 1 

Line 26. p. 46. Note the indication of well-laid plans. 

38. p. 46. The terms " pre-ordinance " and "first decree" have 
a theological sound. See Glossary. In contrast to these the law 
of children is mere lack of all law. 

46. p. 47. Cf. in M. of V., I, 3, 1. 110, "foot me as you spurn a 
stranger cur." 

54. p. 47. Another short line and eloquent pause. What feeling 
do the words carry? 

60. p. 47. Cf. Brutus' speech on ambition. II, 2. 

68 ft* . p. 47. Considering the enthusiasm Shakspere exhibited for 
the character of Cassar, as evidenced by frequent references to him, 
one can hardly think but that in these lines the dramatist is speak- 
ing his own praise of Cassar. 

77. p. 48. Et tu, Brute. . . . Another Elizabethan stage "gag." 
Origin unknown. 

105. p. 49. Cf. the following: . . . "death, the far-seeing libera- 
tor, had rescued Caesar from an entanglement which not even he 
could have unravelled." Ferrero, II, p. 317. 

112. p. 49. "The play" again. This is another tribute to the 
universal appeal of the story. Cf. in Hamlet, III, 2, 1. 97. 
Polonius: "I did enact Julius Caesar; I was killed 
i' th' Capitol; Brutus killed me." 

117. p. 49. Cf. Hamlet. V, 1, 1. 202 ff. 



NOTES 113 

"Imperial Caesar, dead and turn'd to clay, 
Might stop a hole to keep the wind away; 
0, that that earth, which kept the world in awe, 
Should patch a wall t' expel the winter's flaw!" 

177-8. p. 52. Observe, in reading, the change from Brutus' 
voicing of ideals to Cassius' practical propositions. 

205. p. 52. Note that this whole passage is founded on a pun. 
Cf. in Twelfth Night, I, 1. The figure is suggested by Plutarch. 
(See App. Ill, The Assassination.) 

212. p. 53. Mark Antony. How are these words spoken? A 
most interesting problem here is that of the "stage business" for 
Cassius. Sometimes he is represented as making passes at Antony 
with his sword, but restrained by Brutus. (See App. II, stage pre- 
sentations of Cassius.) 

225. p. 53. But compare this with Brutus' attempt to satisfy 
himself in II, 1. 

271. p. 55. Caesar's Spirit again. This dominance is the great 
reason for calling the play "Julius Caesar." 

293. p. 56. There shall I try, etc. . . . Test Antony's oration 
by this expressed purpose. Discover the means by which he 
"feels" the temper of the crowd before mastering them. Cf. in 
App. II on Faversham's "Antony." 

297. p. 56. Several times the youth of Octavius is emphasized. 
He was nineteen at this period, but Antony, who was old enough 
to be his father, found him rather more than a match. See V, 1. 

Scene 2 

Line 13 ff. p. 56. A defensive position. Brutus assumes that his 
act needs defense. Is this a way of paying tribute to the honorable 
temper of Brutus? The speech is in the manner, restrained and 
direct, that Brutus is said to have affected. The speech is perfect 
in its kind, but there is no blood in it. 

52. p. 58. A striking bit of biting irony. The spirit of Caesar 
is thus called up. Brutus' spirit of sacrifice is ideally beautiful, 
but pitifully futile in this crisis. 

85-86. p. 59. In reading, of course, the words must sound per- 
fectly sincere. But note the tone of 155 below. 

145. p. 61. Cf. with Marullus' speech in I, 1. Another "echo" 
in the play. 

154-5-6. p. 61. In reading, note the vivid contrast between the 
oft-repeated and musical "wrong the honorable men" and the quick, 
sharp startle of "daggers have stabbed Caesar." The reaction 



114 NOTES 

from this line embitters every "honorable." The next line is 
notable. All the sarcasm that Antony has cunningly concealed 
suddenly bursts out in the full bitterness of the befooled populace 
speaking through the Fourth Citizen. 

172. p. 62. Note again how Shakspere relieves with a story the 
strain of a long speech. (See App. Ill, "The Nervii.") 

214. p. 63. Cf. Brutus, II, 1. "I know no personal cause ..." 

225 if. p. 64. In reading, note the effect of a quiet, firm tone, 
lowering the pitch somewhat to the pause in line 227, then rising 
in intensity and pitch to the climax in line 231. 

263. p. 65. The situation in this line furnishes the stage picture 
with which modern usage requires the scene to end. 

273. p. 66. Bring me to Octavius. For the Elizabethan theater 
this served as a cue to clear the stage. At the same time, for 
reading, it serves to carry one forward to IV, 1, over a period of 
twenty months. 

Scene 3 

Another rough and tumble populace scene, usually omitted on 
the modern stage. It merely fills in a gap, without carrying the 
story forward. The luckless poet, who ought to have stayed at 
home, is an interesting figure in this play. Cf. the Quarrel Scene. 
Shakspere takes a good-natured "shy" at his own profession. 



Act IV, Scene 1 

Line 22. p. 69. Cf. Hamlet. . . . Ill, 1, 11. 76-7. 
. . . "Who would these fardels bear, 
To grunt and sweat under a weary life," 
37. p. 69. (See Glossary.) This is the folio reading and seems 
sufficiently clear. 

Lepidus is always a little behind other folk; the interests others 
have thrown aside he finds fresh. 

40. p. 69. Property here means a stage property. Lepidus is 
merely a piece of furniture for the play. 

Scene 3 

One of the famous episodes of the play. This scene became 
immediately popular. See the lines from L. Digges quoted on the 
title-page. 

Line 18. p. 72. Here is a new point of view for the assassina- 
tion. In reading this speech it must be observed that the emotion 



NOTES 115 

of Brutus carries the voice up and down the scale, though it never 
escapes control. (See App. III. Brutus and Cassius at Sardis.) 

28. p. 73. Shakspere well understood the "catch" of the sound 
of words under great emotion. Hence this word-play, upon "bay." 
Cf. Macbeth, II, 2, 11. 56-7. 

"I'll gild the faces of the grooms withal; 
For it must seem their guilt." 

47. p. 74. The spleen was supposed to be the source of sudden, 
violent passion. 

57. p. 74. Brutus must see that he has made a slip. Cassius 
had not said "better." 

62. p. 74. To this there is no reply. Brutus again has the 
advantage. 

71. p. 74. Would he have refused money raised by vile means? 

94. p. 75. aweary. This is a word that Shakspere uses fre- 
quently, now charged with passion, again lightly. Cf. Macbeth, 
V, 5, 1. 49, "I 'gin to be aweary of the sun"; and M. of V. I, 2, 
1. 1, "By my troth, Nerissa, my little body is aweary of this great 
world." 

145 ff. p. 77. Brutus was a Stoic; Cassius professed the Epi- 
curean philosophy. 

(See App. Ill for the picture of Portia Brutus must have been 
carrying in his mind. "The Parting of Brutus and Portia.") 

158. p. 78. Just once thus in the play. The words utter the 
very soul of Cassius. 

167. p. 78. In reading this line every word must receive full 
time and emphasis. 

182. ff. p. 79. The death of a Portia could not be easily dis- 
missed. Without this consideration it is difficult to allow a reason 
for this passage which lays Brutus open to the charge of quibbling. 

197 ff. p. 80. Another pivot on which the action swings, wrong 
again too for the conspirators. 

227. p. 81. Note the passing of time. 

267. p. 82. The song for Lucius in the Tent Scene has been 
lost. In its place, the following song, "Orpheus and His Lute," 
has been used, from Henry VIII, Act 3, Sc. 1. 

Orpheus with his lute made trees, 
And the mountain tops that freeze, 
Bow themselves, when he did sing: 
To his music plants and flowers 
Ever sprung; as sun and showers 
There had made a lasting spring. 



116 NOTES 

Everything that heard him play, 
Even the billows of the sea, 
Hung their heads, and then lay by. 
In sweet music is such art, 
Killing care and grief of heart 
Fall asleep, or hearing, die. 

280. p. 83. The Spirit of Csesar. Observe how the rest of the 
scene is managed to make it clear that the ghost is for Brutus 
alone. So in Plutarch. See App. III. 

Act V, Scene 1 

Line 1. p. 85. The lines look backward, as a means of linking the 
scene to others preceding. See Time Schedule of the Play, p. 100. 

39. p. 86. The Assassination story again. Note the vivid 
details added to the picture of that event. The scene serves to 
call up old scores and makes a fight necessary on purely personal 
grounds, the "general good" clean forgotten. 

75. p. 88. Epicurus . . . and his opinion, — namely, that appari- 
tions and signs are explainable as creations of the senses that deceive, 
and so are not anything real. 

99. p. 89. This passage is unclear because of an error in North's 
translation of Plutarch from the French, and possibly an error in 
Shakspere's reading of North's translation. Brutus here gives the 
principles he had held; then in answer to Cassius' next query states 
his present mind. 

112. p. 89. "Caesar's death began a great crisis." Ferrero, II, 
p. 309. 

Scene 3 

Line 23. p. 91. Time is come round. . . . Thus the dramatist 
justifies his catastrophe. The wheel has come full circle, and we are 
satisfied. 

94. p. 94. A further step in the dramatist's reminding us that 
the forces called up in the play are doing their complete work. 
The Spirit of Caesar. 

109. p. 94. ere night. Twenty days are summed up in this 
phrase. 

Scene 5 

Line 35. p. 97. This line finally marks Brutus as an observer 
and student of men rather than an actor in practical affairs. 

50. p. 98. Cf. Cassius' question in I, 2, "What should be in that 
Caesar?" 



NOTES 117 

76. p. 99. a man. Too frequently this line is read to connote 
perfection. But certainly there is a certain pathos about the 
failure of the man who came so near the ideal. Cf. the feeling in 
the following passages: 
Hamlet III, 4, 11. 60-62. 

"A combination and a form indeed, 
Where every god did seem to set his seal, 
To give the world assurance of a man." 

I, 2, I. 187. 

"He was a man, take him for all in all, 
I shall not look upon his like again." 

II, 2, 1. 298. "What a piece of work is a man!" 
See App. Ill, Antony's Judgment of Brutus. 



APPENDIX I 



READING THE PLAY 

Throughout this play the main distinctions between the actors 
in dialogue are simple, broad, and fundamental. For class reading 
the more subtle points may be ignored, save as the students find 
these out for themselves. Hence the assignment of "parts" may 
be undertaken with little misgiving on the teacher's part. The 
first study should be directed to pointing out what the characters 
are doing in the various situations. Then the pupil may be led to 
let his breathing and words respond to this "doing." In proper 
breathing lies freedom, and the control necessary to convey the 
picture to an audience. 

For example, in I, 1, the breathing of the confident, authoritative 
Flavius and Marullus is deeper and fuller than that of the some- 
what bold but doubtful cobbler: their voices are fuller than that 
of the quibbling workman. Again, in the famous dialogue between 
Cassius and Brutus in I, 2, eagerness marks Cassius; his voice 
runs over a wide range of pitch as well as quality, from hesitant 
feeling of Brutus' temper, through satisfaction in his success, to 
fiery denunciation. The plain, cynical prose of Casca in this same 
scene draws no deep breath, expands no chest muscles. On the 
other hand his lines in I, 3, must not be read breathlessly, for this 
would simply make him ridiculous and tell no such fearful story 
as the scene is intended to convey. 

Practice of this sort will develop the "feeling" for the meaning 
of the speeches, which must clothe the bones of line and word 
study. All this is as much as to say that in reading the play one 
must remember that, among other things not directly indicated by 
the printed word, changes of pitch, pauses, and inflections convey 
the reader's meaning to the auditor. 

THE STAGE PICTURE 

This includes the scenery or setting, and the characters, single 
or in groups, in their various positions. For class purposes, and 
indeed for more formal presentations of Shaksperean plays in the 



APPENDIX I 119 

school, the stage setting should be very simple. A neutral back- 
ground formed by a "back drop" or by curtains at the rear of the 
stage, with such simple pieces of furniture as are obviously called 
for in the piece, will suffice. 

The people are on the stage to do something. The words and 
sentences are first of all to suggest and reinforce this action in 
sending the story home to the audience, and in arousing their 
emotion. The speaking is flat unless the appropriate action go 
with it. Certain relations of position are proper then to set this 
action forward. In general, the front of the stage (down-stage) is 
the foreground of the picture. Toward the center front the strik- 
ing, climactic scenes naturally focus. Here is the point of contact, 
for instance, between the tribunes and the crowd, I, 1. 

In I, 2, Caesar and Antony occupy for a moment the foreground; 
then it passes to Brutus and Cassius; finally Cassius alone, de- 
termined, vindictive, fatal, holds the stage. Such distribution of 
the minor characters as will give a "balanced" look to the stage 
should be made, allowing for the positions demanded by the action 
and for changes^ of position. For instance, if in II, 1, when the 
curtain rises, Brutus is discovered seated at one side of the stage, 
room is made for his meeting Cassius in the center stage; then, as 
the two withdraw into the background, the other conspirators are 
in such positions as their speeches demand. Similarly in III, 1, if 
Caesar's seat be at the left or right of the front stage, with the 
senators ranged at the other side and rear (up-stage), room is left 
for the petitioning conspirators to approach in full view of the 
audience, and if, when Caesar comes down from his place and falls, 
he lies at center front, the effective position is secured for Antony 
during his speech over the body. 

In the tent of Brutus, IV, 3, the little incident of the sleepy 
Lucius is so subtly important to light up the character of Brutus 
that there is great propriety in arranging the stage so that he is 
well in the foreground, while from the shadowy background the 
Spirit of Caesar rises. 

Due attention should be given to using the class to make up the 
crowd and the processions, of which there are several. The crowd 
must follow cues. In no way can the background of the scenes 
be better taught. During the speech of Antony to the mob they 
may well be circled around the front of the platform from which he 
speaks. When he comes down to show "sweet Caesar's wounds" 
he approaches the foreground and is there left alone with the body 
at the close of the scene. 

Nowadays this stage picture to close the scene is almost a neces- 



120 APPENDIX I 

sity, and the suggested cutting of the text in this edition has been 
made with regard for this modern convention. In this point our 
theater differs materially from the Elizabethan, where, no curtain 
being used, the stage had to be cleared at the end of each group of 
actions. 

Suggestions for stage setting and "business" will be found in 
App. II. For these purposes, too, the reading of the Lives of 
Caesar and Brutus, in Plutarch, cannot be too thorough. 

An excellent summary of appropriate costume is to be found in 
the Booth Prompt Book, Appendix to "Brutus." Even though 
the play be not staged, the study of this topic is most helpful in 
securing good visualizing of the scenes. 



APPENDIX II 

STAGE HISTORY; CHARACTER INTERPRETATIONS 

Shakspere's "Julius Caesar," both for the play as a whole and for 
two or three particular scenes, appears to have become immediately 
popular. The theme had been used frequently before 1600, in 
England and France. The earliest performance in England of 
which we have record is of a play, " Julyus Sesar" in 1562. In 1582 
a Latin play on the subject was acted at Oxford. Other plays 
there were on the subject of Caesar or Caesar and Pompey. But 
all these are lost, so it is impossible to determine Shakspere's 
indebtedness to them. Possibly the reference in III, 1, 1. 112 ff. to 
the popularity of the scene is prompted by the numerous plays in 
vogue. 

In France a young scholar by the name of Muret produced a 
"Julius Caesar" of about 600 lines in 1544. He was followed by 
Grevin in 1558. MacCallum, in Roman Plays and Their Back- 
ground, points out that the elements of motive and action used by 
Muret are very nearly identical with those used by Shakspere. 
No real connection is traceable between these plays, but the analy- 
sis of Muret is interesting as suggesting that a very great deal of 
the framework of Shakspere's play may have become traditional 
by the time he was ready to take the theme in hand. The analysis 
follows: 

The self-conscious magnanimity of Caesar, 

The temporary hesitation of Brutus, 

The letters of the populace, 

The courage of Portia, 

The final whole-heartedness of Brutus, 

The prohibition of the killing of Antony, 

The vindictiveness of Cassius, 

Calpurnia's dream, 

The contest with Decius Brutus, 

The fatal decision, 

The blood-stained swords, 

The balance between sympathy for Brutus and for Caesar. 

MacCallum points out also that in a play, " Cornelie," by Gamier, 



122 APPENDIX II 

produced in France in 1574, the subject of a conversation between 
Brutus and Cassius is the same as that in Shakspere's play, I, 2, 
and that the action in the scenes is similar. Here too, however, it 
is impossible to trace certain connection. Moreover the material 
noted is all emphasized in Plutarch. Indeed, these coincidences 
may be looked upon as tributes to the fine instinct and skill of the 
great Greek biographer. 

Several plays on the subject have been produced since 1600, but 
none has maintained a place with Shakspere's. Sir Henry Herbert, 
Master of the Revels from 1623 to 1642, left a record in which 
"Julius Caesar" appears as the only Shaksperean play performed 
during those years. The records are incomplete, but they make it 
clear that this play shared with one or two others the Shaksperean 
part of the repertoire of the King's Company at the Theatre Royal 
from 1660 to 1830. From 1774 to the present year (1913) a not- 
able list of actors have appeared in the parts of Brutus, Cassius, 
and Antony. 

Junius Brutus Booth made the part of Cassius famous. William 
Winter in the Booth Prompt Book quotes from Gould, "The 
Tragedian," on his performance of the part in Boston, 1837 (P): 1 
"His Cassius was signalized by one action of characteristic excellence 
and originality. After Caesar had been encompassed and stabbed 
by the conspirators, and lay extended on the floor of the senate 
house, Booth strode right across the dead body and out of the 
scene in silent and disdainful triumph." 

Another great English actor, Macready, was regarded as pre- 
eminent in Cassius. In his diary is an interesting record of his 
experiences with the characters of both Cassius and Brutus. 

1818-19. "This year I studied, in 'Julius Caesar,' the 'lean and 
wrinkled Cassius,' a part in the representation of which I have, 
through my professional life, taken a peculiar pleasure, as one 
among Shakspere's most perfect specimens of idiosyncrasy." Later 
he speaks of the "eager ambition, the keen penetration, and the 
restless envy of the determined conspirator." In 1836 he says of 
Brutus, "It never can be a part that can inspire a person with an 
eager desire to go to a theatre to see it represented." But in 1851 he 
has the following: "Acted Brutus as I never, no never, — acted it 
before, in regard to dignified familiarity of language or enthusiastic 
inspiration of lofty purpose. The tenderness, the reluctance to 
deeds of violence, the instinctive abhorrence of tyranny, the open 

1 Furness, in the New Variorum, gives the first Boston performance as 
in the Boston Theatre in 1856. 



APPENDIX II 123 

simplicity of heart, and natural grandeur of soul, I never so per- 
fectly, so consciously portrayed before. I think the audience felt 
it." 

Of Lawrence Barrett in Cassius, Winter says, "He pervaded the 
play like the indomitable and remorseless figure of fate." Barrett 
was seen in this part in New York in one hundred presentations in 
1876. 

The same great critic says of Edwin Booth: "Edwin Booth's 
presentment of Julius Caesar was one of the most impressive specta- 
cles ever seen upon the stage. First given on Christmas night, 
1871, and continued until March 16, 1872, the tragedy was kept 
before the New York public for twelve weeks, and it had eighty- 
five consecutive representations. Edwin Booth was seen as Brutus, 
Antony, and Cassius. . . . Booth's Cassius was comet-like, rushing, 
and terrible — not lacking in human emotion, but colored with 
something sinister. In Cassius he used the "business" of striding 
with heedless preoccupation across the head of the dead Caesar. 
. . . (See above on J. B. Booth.) ... In depicting Brutus — 
his ideal gentleman — Shakspere made a wonderfully keen and 
pathetic exposition of internal conflicts. . . . One of the most 
striking qualities of his (Booth's) assumption of Brutus was the 
lofty and lovely chivalry of his manner toward Portia. . . . Booth 
depicted Antony as a person of politic, reckless, somewhat treacher- 
ous nature, yet resolute, strong, and fierce." 

In 1898 Sir Beerbohm Tree produced the play most sumptuously 
at His Majesty's Theatre in London. 

In this production the play was arranged in three acts: 

Act I to Act III, 1, formed the first act, of five scenes. 

The Forum Scene, III, 2, formed the second act. 

The scene in Brutus' tent and those on the Plains of Philippi 
together formed the third act, of two scenes. 

"The scenery was an exquisite picture of vanished Rome, de- 
signed by Sir Alma-Tadema. Temple and palace, street and forum 
were revealed aglow with Italian color. . . . The Public Place of 
the opening scene (1-3 in this text) was happily chosen for its 
associations with the great Dictator. It was the Forum of Julius 
with the Temple of Venus Genetrix seen through a vast arch of 
triumph spanning the front of the stage. Caesar laid out this 
space at vast cost, and built the temple to the tutelary goddess of 
the Julian house which traced its descent from lulus, the son of 
iEneas, the son of Venus. In the center of the Forum stood a 
bronze statue of Caesar 'decked with ceremony' and flanked by 
trees. In the background the roof of the Temple of Jupiter Capi- 



124 APPENDIX II 

tolinus rose against the sky. The crowd was a many-colored group, 
in which the sober tints of the workmen's tunics and short-hooded 
mantles set off the bright dresses of rich bystanders and the pomp 
of the imperial procession. Csesar entered in royal state, accom- 
panied by guards and standard-bearers and the actual pageantry 
of a Roman triumph, by Senators in red and white togas, and bands 
of lictors with the fasces (axes tied in bundles of rods, symbolizing 
the magistrate's power of life and death). He wore the kingly 
dress, which irritated the republican faction, a robe of claret red 
silk with an amethyst-colored toga, and a laurel wreath (used on 
the plea of hiding baldness), and he carried an eagle-topped sceptre. 
Calpurnia had a robe of pale blue, and a sapphire 'palla' figured 
with gold lilies, and she wore a crown of roses. Antony in this 
scene was equipped as a runner for the Lupercalia with the goat- 
skin cincture, and had a dappled fawn-skin hanging from his 
shoulder. As the procession passed out on its way to the games, 
a girl from a house by the archway flung at Caesar's feet a handful 
of red roses, and he started back at the omen of blood. It was a 
Roman touch, and not only recalled the Tribune's anger at strewing 

'flowers in his way 

That comes in triumph over Pompey's blood,' 

but it preluded very daintily Decius Brutus's comment upon 
Caesar's being 'superstitious grown of late.' Antony, however, 
took the omen very differently. He caught a rose as he passed, 
and when the procession re-entered he came in caressing two girls, 
one of whom had flung him the rose. It was these two girls who 
afterwards induced the foremost of the mob to give him a hearing 
in the Forum scene. Twice the procession crossed the stage." 

In the garden scene. . . . "Brutus sat for the opening of the 
speech, 'It must be by his death'; then rose as he continued it 
and leaned meditatively against a pillar. 

"Portia's dress was pure white, in which the only touch of color 
was a turquoise and silver clasp. . . . 

. . . "The Public Street was very beautiful. Pillared buildings 
in the foreground; then a row of shops with lowered sun-blinds led 
to a distant archway with Ionic pilasters and massive entablature. 
Across the street ran a line of those curious stepping-stones still 
to be seen at Pompeii, to enable passengers to cross in bad 
weather. . . . 

"The Senate House. . . . The curtain rose upon some senators 
seated in tiers of circular seats on either side, with a throne raised 



APPENDIX II 125 

high and steps in the centre, and behind this a canopied and pillared 
balcony in which the archivists sat. Caesar entered in procession, 
escorted by his murderers. They took their seats at the sides; 
then rose one by one and knelt before him, each moving nearer as 
he supported Cimber. When Casca struck, Caesar sprang to his 
feet, then half-defending himself rushed down the steps, stabbed 
by each man as he passed, and meeting with outstretched hands 
Brutus, who waited at the foot. . . . 

"Gathering round the body, the conspirators reddened their 
hands in blood — a graphic touch usually omitted in acting copies. 
After Antony's entrance ... as each one 'rendered him his bloody 
hand,' the blunt Casca wiped off the stains on Antony's wrist, and 
he repressed a rising look of horror. So his eyes flashed with a 
momentary gleam of passion as Cassius, at the line, 'Brutus, a 
word with you,' stepped over Caesar's body in his haste to move 
across." (Cf. J. B. Booth, etc. See above.) — Percy Simpson. 
Quoted in Mark Hunter's edition of J. C. and in the New Variorum. 

RICHARD MANSFIELD'S BRUTUS 

Mansfield produced the play in 1902. 

"His aspect, upon his first appearance, was that of a man in- 
tensely preoccupied, almost dazed, with the conflict of distracting, 
harrowing thoughts. The face was pale, the eyes were sunken and 
hollow. In the Garden Scene the voice was peculiarly tremulous 
and distressful, till at the close of that trying ordeal, and again 
in the Senate Scene it became stern and solemn, as if with a terrible 
resolution, the access of fanaticism. When striking at Caesar he 
delivered a perfunctory stroke, and momentarily seemed to recoil 
from the deed — in that particular following the precedent of 
Edwin Booth. His aspect, immediately after the assassination, 
became that of a man absolutely insane. . . . His delivery of the 
vindicatory speech to the people was colloquial." — William 
Winter. "Life and Art of Richard Mansfield," Vol. I, p. 161 ff. 

WILLIAM FAVERSHAM'S PRODUCTION, 1912 

"The scenes are ablaze with color. In the whole scheme of 
decoration the color of that Oriental influence which was permeating 
Rome, and which ultimately was to work its destruction, is felt. 

"This opening scene is riotous with the merry-making of the 
participants in the Lupercalian games and of thronging onlookers. 
Dancing girls and acrobats flash across the stage. Music sounds, 



126 APPENDIX II 

and troops of soldiers, some of them in clanking armor, and some 
hooded in undressed skins of beasts, escort notables to the games. 
Laughter, ribaldry and monkey tricks usher in the tragedy. 

"In the senate chamber to the left of the stage as you face it is 
the throne of Caesar, overshadowed by the statue of Pompey. To 
the right the benches of the senators rise in four lofty tiers, and, 
when the chamber fills, those benches are occupied by more than 
three-score white-robed figures. In the background are vistas of 
courts and corridors bright with gilding and flaming with color. . . . 
Clouds of incense float beneath the ponderous ceilings. The stage 
trembles under the tread of soldiers, and the senators visit in ani- 
mated groups pending the coming of Caesar. 

"To command silence for the hearing of petitions an officer of 
the senate strikes thrice upon metal with a mallet." 

In the Tent Scene. "The massive folds of the tent fill the entire 
width and height of the stage with color that shifts with the move- 
ment of the torches from a Gobelin hue to deep, illusive green. 
The Roman lamps burning with languid, bluish flames, the gleam of 
burnished armor and crimson trappings, and the compact group of 
generals poring over their dispatches combine to produce an his- 
torical painting of the highest impressiveness." 

Faversham as Antony, in the Forum. 

"He wrestles with the mob, wrestles with every phrase, and with 
the phrases he slowly beats down the mob — beats it with rhetorical 
questions and swift argumentative thrusts, the inspiration for which 
he seems to find in the upturned faces. Always he is wary, always 
beneath the fluency is anxious calculation of the effect upon the 
crowd. The words, 'Here was a Caesar . . .' are released in a 
wild, exultant cry." — James O. Bennett, in the "Chicago Record- 
Herald," October 20, 1912. Quoted also and more fully in the New 
Variorum. 

The names of Edwin Forrest, as Antony, and Edmund Kean, as 
Brutus, must be added to this list. 

In the present year (1913) Robert Mantell, playing Brutus, and 
Tyrone Power, playing Antony, are also giving notable productions 
of the play. 

The Booth Prompt Book, which represents Edwin Booth's 
arrangement of the play, divides the whole into six acts, which 
correspond roughly to the six days of the dramatic time. 

Act I = Act I, 1 and 2 

Act II = Act II, 1 and 2 

Act III = Act III, 1 



APPENDIX II 127 

Act IV = Act III, 2 
Act V = Act IV, 2 and 3 
Act VI = Act V, omitting 2 

The arrangement involves other minor cuttings and transposi- 
tions, some of which are marked in the notes to this edition. 



APPENDIX III 

SELECTIONS FROM PLUTARCH: LIVES OF CESAR AND 
BRUTUS 

THE ILL HEALTH OF CESAR 

"For concerning the constitution of his body, he was lean, white 
and soft-skinned, and often subject to headache, and otherwhile 
to the falling sickness (the which took him the first time, as it is 
reported, in Corduba, a city of Spain): but yet therefore yielded 
not to the disease of his body, to make it a cloak to cherish him 
withal, but contrarily, took the pains of war as a medicine to cure 
his sick body, fighting always with his disease, travelling continu- 
ally, living soberly, and commonly lying abroad in the field." 

Note: Suetonius says Caesar was tall, fair, well-formed, and 
had rather a full face, and black eyes. 

THE NERVII 

"That day he overcame the Nervii." Ill, 2, 1. 175 

"Caesar being advertised that the Belgae (which were the war- 
likest men of all the Gauls, and that occupied the third part of 
Gaul) were all up in arms, and had raised a great power of men 
together: he straight made towards them with all possible speed, 
and found them spoiling and over-running the country of the 
Gauls, their neighbors, and confederates of the Romans. So he 
gave them battle, and, they fighting cowardly, he overthrew the 
most part of them which were in a troop together, and slew such a 
number of them, that the Romans passed over deep rivers and 
lakes afoot upon their dead bodies, the rivers were so full of them. 
After this overthrow, they that dwelt nearest unto the seaside, 
and were next neighbors unto the ocean, did yield themselves without 
any compulsion or fight: whereupon, he led his army against the 
Nervians, the stoutest warriors of all the Belgae. They, dwelling 



APPENDIX III 129 

in the wood country, had conveyed their wives, children, and goods 
into a marvellous great forest, as far from their enemies as they 
could: and being about the number of six-score thousand fighting 
men and more, they came one day and set upon Csesar, when his 
army was out of order, and fortifying of his camp, little looking to 
have fought that day. At the first charge they brake the horsemen 
of the Romans, and compassing in the twelfth and seventh legion, 
they slew all the centurions and captains of the bands. And had 
not Caesar self taken his shield on his arm, made a lane through 
them that fought before him: and the tenth legion also, seeing 
him in danger, run unto him from the top of the hill where they 
stood in battle, and broken the ranks of their enemies: there had 
not a Roman escaped alive that day. But, taking example of 
Caesar's valiantness, they fought desperately beyond their power, 
and yet could not make the Nervians fly, but they fought it out 
to the death, till they were all in manner slain in the field. It is 
written that of three-score thousand fighting men there escaped 
only but five hundred: and of four hundred gentlemen and coun- 
sellors of the Romans but three saved. The Senate understanding 
it at Rome ordained that they should do sacrifice unto the gods, 
and keep feasts and solemn processions fifteen days together with- 
out intermission, having never made the like ordinance at Rome 
for any victory that ever was obtained." 

THE LUPERCALIA 

After telling of one occasion, among others, when Caesar offended 
the Senate and the people and, going home, offered to let any one 
who would come and cut his throat, and then excused his folly by 
saying that "their wits are not perfect that have his disease of the 
falling evil, when standing of their feet they speak to the common 
people, but are soon troubled with a trembling of their body, and 
a sudden dimness and giddiness," Plutarch tells of the Feast of the 
Lupercalia. 

"At that time the feast Lupercalia was celebrated, the which in 
old time men say was the feast of shepherds, or herdmen, and is 
much like unto the feast of the Lycaeans in Arcadia. But howso- 
ever it is, that day there are divers noblemen's sons, young men 
(and some of them Magistrates themselves that govern them) which 
run naked through the city, striking in sport them they meet in 
their way with leather thongs, hair and all on, to make them give 
place. And many noblewomen and gentlewomen also go of pur- 
pose to stand in their way, and do put forth their hands to be 



130 APPENDIX III 

stricken, as scholars hold them out to their schoolmaster to be 
stricken with the ferula; persuading themselves that, being with 
child, they shall have good delivery, and also, being barren, that 
it will make them to conceive with child. Csesar sat to behold 
that sport upon the pulpit for orations, in a chair of gold, ap- 
parelled in triumphing manner. Antonius, who was Consul at 
that time, was one of them that ran this holy course. So, when he 
came into the market place, the people made a lane for him to run 
at liberty, and he came to Csesar, and presented to him a Diadem 
wreathed about with laurel. Whereupon there rose a certain cry 
of rejoicing, not very great, done only by a few appointed for the 
purpose. But when Csesar refused the Diadem, then all the 
people together made an outcry of joy. Then, Antonius offering 
it him again, there was a second shout of joy, but yet of a few. 
But when Csesar refused it again the second time, then all the 
whole people shouted. Csesar, having made this proof, found 
that the people did not like of it, and thereupon rose out of his 
chair, and commanded the crown to be carried unto Jupiter in the 
Capitol. After that there were set up images of Csesar in the city 
with Diadems upon their heads like kings. Those the two Tribunes, 
Flavius and Marullus, went and pulled down; and furthermore, 
meeting with them that first saluted Csesar as king, they com- 
mitted them to prison. . . . Csesar was so offended withal, that 
he deprived Flavius and Marullus of their Tribuneships. . . . 

"Csesar also had Cassius in great jealousy and suspected him 
much: whereupon he said on a time to his friends, 'What will 
Cassius do, think ye? I like not his pale looks. ... As for those 
fat men and smooth-combed heads,' quoth he, 'I never reckon of 
them: but those pale-visaged and carrion lean people, I fear them 
most': meaning Brutus and Cassius." 

THE ASSASSINATION 

The immediate circumstances of the murder are narrated thus: 
"Now Antonius, that was a faithful friend to Csesar, and a valiant 
man besides, of his hands, him Decius Brutus Albinus entertained 
out of the Senate house, having begun a long tale of set purpose. 
So, Csesar coming into the house, all the Senate stood up on their 
feet to do him honor. Then part of Brutus' company and con- 
federates stood round about Csesar's chair, and part of them also 
came towards him, as though they made suit with Metellus Cimber, 
to call home his brother again from banishment: and thus, prose- 
cuting still their suit, they followed Csesar, till he was set in his 



APPENDIX III 131 

chair. Who, denying their petitions, and being offended with them 
one after another, because the more they were denied, the more 
they pressed upon him, and were the earnester with him: Metellus 
at length, taking his gown with both his hands, pulled it over his 
neck, which was the sign given the confederates to set upon him. 
Then Casca behind him strake him in the neck with his sword: 
howbeit the wound was not great nor mortal, because, it seemed, 
the fear of such a devilish attempt did amaze him, and take his 
strength from him, that he killed him not at the first blow. But 
Caesar, turning straight unto him, caught hold of his sword, and 
held it hard: and they both cried out, Caesar in Latin: 'O vile 
traitor Casca, what doest thou?' And Casca in Greek to his 
brother, 'Brother, help me.' At the beginning of this stir, they 
that were present, not knowing of the conspiracy, were so amazed 
with the horrible sight they saw, that they had no power to fly, 
neither to help him, not so much as once to make any outcry. 
They on the other side that had conspired his death compassed 
him in on every side with their swords drawn in their hands, that 
Caesar turned him nownere but he was stricken at by some, and 
still had naked swords in his face, and was hacked and mangled 
among them, as a wild beast taken of hunters. . . . Men report 
also that Caesar did still defend himself against the rest, running 
every way with his body: but when he saw Brutus with his sword 
drawn in his hand, then he pulled his gown over his head, and made 
no more resistance, and was driven either casually or purposedly 
by the counsel of the conspirators against the base whereupon 
Pompey's image stood, which ran all of a gore-blood till he was 
slain." 

OF CASSIUS AND HIS MOTIVES 

"For Cassius even from his cradle could not abide any manner of 
tyrants, as it appeared when he was but a boy, and went unto the 
same school that Faustus the son of Sulla did. And Faustus, 
bragging among other boys, highly boasted of his father's kingdom: 
Cassius rose up on his feet, and gave him two good whirts on the 
ear. Faustus' governors would have put this matter in suit against 
Cassius: but Pompey would not suffer them, but caused the two 
boys to be brought before him, and asked them how the matter 
came to pass. Then Cassius, as it is written of him, said unto the 
other: 'Go to, Faustus, speak again, and thou darest before this 
nobleman here, the same words that made me angry with thee, 
that my fists may walk once again about thine ears.' Such was 
Cassius' hot, stirring nature." 



132 APPENDIX III 



THE PARTING OF BRUTUS AND PORTIA. 

"Brutus seeing the state of Rome would be utterly overthrown, 
he determined to go out of Italy, and went afoot through the 
country of Luke unto the city of Elea, standing by the sea. There 
Porcia, being ready to depart from her husband Brutus and to 
return to Rome, did what she could to dissemble the grief and 
sorrow she felt at her heart: but a certain painted table betrayed 
her in the end, although until that time she always shewed a con- 
stant and patient mind. The device of the table was taken out 
of the Greek stories, how Andromache accompanied her husband 
Hector, when he went out of the city of Troy to go to the wars, 
and how Hector delivered her his little son, and how her eyes were 
never off him. Porcia seeing this picture, and likening herself to 
be in the same case, she fell a- weeping: and coming thither often 
times in a day to see it, she wept still. Acilius, one of Brutus' 
friends, perceiving that, rehearsed the verses Andromache speaketh 
to this purpose in Homer: 

Thou, Hector, art my father, and my mother, and my brother, 
And husband eke, and all in all: I mind not any other. 
Then Brutus, smiling, answered again: 'But yet I cannot for my 
part say unto Porcia, as Hector answered Andromache in the same 
place of the poet: 

Tush, meddle thou with weighing duly out 
Thy maids their task, and pricking on a clout. 
For indeed the weak constitution of her body doth not suffer her 
to perform in shew the valiant acts that we are able to do: but, for 
courage and constant mind, she shewed herself as stout in the 
defence of her country, as any of us.'" 

A MEETING OF BRUTUS AND CASSIUS IN SARDIS 

"Now, as it commonly happeneth in great affairs between two 
persons, both of them having many friends and so many captains 
under them, there ran tales and complaints betwixt them. There- 
fore before they fell in hand with any other matter, they went into 
a little chamber together, and bade every man avoid, and did shut 
the doors to them. Then they began to pour out their complaints 
one to the other, and grew hot and loud, earnestly accusing one 
another, and at length fell both a-weeping. . . . One Marcus 
Favonius (a Cynic Philosopher) ... in despite of the doorkeepers, 
came into the chamber, and with a certain scoffing and mocking 



APPENDIX III 133 

gesture which he counterfeited of purpose, he rehearsed the verses 
which old Nestor said in Homer: 

'My lords, I pray you hearken both to me, 
For I have seen moe years than suchie three.' 

Cassius fell a-laughing at him: but Brutus thrust him out of the 
chamber, and called him dog, and counterfeit Cynic. . . . The next 
day after, Brutus, upon complaint of the Sardians, did condemn 
and noted Lucius Pella for a defamed person, that had been a 
Praetor of the Romans, and whom Brutus had given charge unto: 
for that he was accused and convicted of robbery and pilfery in 
office. This judgment much misliked Cassius: because he himself 
had secretly (not many days before) warned two of his friends, 
attainted and convicted of the like offences, and openly had cleared 
them ... he greatly reproved Brutus, for that he would shew 
himself so straight and severe, in such a time as was meeter to 
bear a little, than to take things at the worst. Brutus in contrary 
manner answered, that he should remember the Ides of March, at 
which time they slew Julius Caesar: who neither pilled nor polled 
the country, but only was a favorer and suborner of all them that 
did rob and spoil by his countenance and authority." 

BRUTUS AND THE GHOST 

"Brutus was a careful man, and slept very little, both for that 
his diet was moderate, as because he was continually occupied. 
He never slept in the daytime, and in the night no longer than the 
time he was driven to be alone, and when everybody else took their 
rest ... if he had any leisure left him he would read some book 
till the third watch of the night. ... So being ready to go into 
Europe, one night very late (when all the camp took quiet rest) as 
he was in his tent with a little light, thinking of weighty matters: 
he thought he heard one come in to him, and casting his eye 
towards the door of his tent, that he saw a wonderful strange and 
monstrous shape of a body coming towards him, and said never a 
word. So Brutus boldly asked what he was, a god or a man, and 
what cause brought him thither. The spirit answered him, 'I am 
thy evil spirit, Brutus: and thou shalt see me by the city of Phi- 
lippic Brutus, being no otherwise afraid, replied again unto it: 
'Well, then I shall see thee again.' The spirit presently vanished 
away, and Brutus called his men unto him, who told him that they 
heard no noise, nor saw anything at all." 



134 APPENDIX III 



ANTONY'S JUDGMENT OF BRUTUS 

. . . "It was said that Antonius spake it openly divers times, 
that he thought that of all them that had slain Caesar there was 
none but Brutus only, that was moved to do it as thinking the 
act commendable of itself; but that all the other conspirators did 
conspire his death for some private malice or envy, that they 
otherwise did bear unto him." 



GLOSSARY 

Abide, endure the consequences of, pay for, suffer. 

Addressed, made ready, prepared. 

Aim, idea, conjecture, guess (n.). 

Alive, in (on) life, as living men. 

And, if (sense indicated by context), frequently printed "an"' 

in modern texts. 
Angel, attendant spirit, guardian, best beloved. 
Apprehensive, intelligent, quick, sharp. 
Arrive (trans, v.), come to, reach (a place). 
Art, learning (something acquired, as opposed to natural 

quality). 

Bear (hard), to hold a grudge against, be ill-disposed toward. 
Bend, glance (n.). 
Bloods, offspring, clans. 
Brooked, tolerated, put up with. 
But (adv.), only, merely. 

Calculate, interpret (prophesy). 

Cautelous, crafty, deceitful. 

Ceremonies, wreaths or scarfs, indicating pomp or "ceremony"; 

also portents, omens. 
Chafing, striking against (particularly used of the sea). 
Change, turn pale or blush (frequently in Shakspere). 
Chew, to consider (frequently so, as in mod. slang). 
Chopped, chapped (a common vowel-change). 
Clean, entirely. 

Climate, region of the earth, clime. 
Cobble, to mend clumsily. 

Cobbler, (1) a shoemaker, (2) a bungler, unskilled workman. 
Cognizance, a sign, as a coat of arms. 
Conceited (p.p.), conceived, understood, apprehended. 
Conceptions, ideas (in S. and Eliz. Eng. the figure of birth was 

very prominent in the word, ideas new-born). 
Constant, firm. 
Construe, interpret. 



136 GLOSSARY 

Couchings, subservient bowings. 

Cull, select or choose. 

Custom, habitual practice or common sight. 

Cynic, sneering faultfinder, dog, no flatterer. 

Danger, power to inflict injury; harm, damage. 
Difference, conflicting quality. 

Earns, grieves. 

Envious, prompted by ill-will. 

Eruptions, disturbances, strange outbreaks of any kind. 

Faction, a party (always with the sense of selfish, mischievous 

ends). 
Factious, actively partisan (cf. above, Faction). 
Fantasies, fancies. 
Fantasy, imagination. 
Favor, appearance (personal). 
Fleering, flattering, false. 
Fret, adorn (especially a ceiling), mark with streaks, lace. 

Given (well), disposed. 
Glazed, stared (obs). 
Growing (on), going toward. 

Heap, a crowd, close-packed. 

High, important. 

High-sighted, haughty. 

Humor, temper, mood; moisture, fluid; in ancient medicine, 

certain humors (fluids) were held to cause moods. 
Hurtled, rushed, clashed as in conflict. 

Indifferently, with equal regard, without prejudice. 
Instances, urgency, earnestness. 
Issue, action. 

Jades, worn-out horses. 
Jealous, suspicious. 
Jigging, light, frivolous. 

Lethe, death (?) stream (of blood) bearing toward oblivion. 
The sense here is conjecture. Lethe was the stream of 
forgetfulness in the lower world. 



GLOSSARY 137 

Liable, subject to. 

Love, Lover, in Elizabethan sense of friend. 

Marred, disfigured, mutilated. 

Marry, by Mary (an oath). 

Makes to, goes toward. 

Mechanical, of trades, mechanics. 

Melting, feeling tenderness. 

Mettle (variant spelling, metal), temperament, spirit, quality (of 

spirit) . 
Moe, more, as applied to numbers, not to quantity. 
Monstrous, unnatural, terrible. 

Naughty (knave), mischievous (fellow). 
Neat's (leather), cowhide (neat cattle). 
Nice, little, unimportant. 
Niggard, to put off with little, to stint. 
Noted, stigmatized as guilty. 

Orchard, garden. 

Passion, feeling (in general). 

Path (v.), go forth. 

Phantasma, nightmare. 

Pitch, flight (as a falcon). 

Pre-ordinance, laws fixed from the beginning, as if law of God. 

Cf. predestination. 
Proceeding, career, advancement. 
Proof, saying, proverb, tested experience. 
Proper, well-formed, comely; belonging to, (one's) own. 
Protester, newly-made, untried comrade. 

Quick, lively. 

Rank, diseased from over-feeding, haughty, proud, offensive. 

Rascal, common, wretched, mean. 

Repealing, recalling (n.). 

Resolved, satisfied upon a matter in question. 

Respect, comparison, heed, rank. 

Retentive, having power to hold. 

Rout, mixed, disorderly crowd. 

Rumor, clamor, outcry. 



DEC 11 1913 

138 GLOSSARY 

Sad, serious, or grieved, worried. 

Secret, sharing or keeping secrets. 

Served, taken care of. 

Shows, evidences, acts. 

Shrewdly, exactly, well. 

Soft (as interjection), hold on! not so fast! 

Stale, make tiresome and commonplace, old. 

Stand upon, (are) concerned about, think important. 

Stare (of the hair), stand up. 

Sway (of earth), the established earth. 

Testy, headstrong, irritable. 

These and these, such and such. 

Unbraced, loose (toga loosened at the shoulder). 
Unmeritable, undeserving. 

Whe'er, whether. 

Whet, stir, incite. 

Wind, turn (said of horses). 

Worldly, (bars) physical. 

Yoke, oppression. 



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